Suspended Sculpture

I really don't feel these are working, which is disappointing. I'm finding that I'm coming up with ideas without trying them out in a practical way - obviously once you actually make a sculpture like this and photograph it, the process will lead in an unexpected direction. In this case I don't think it was a good direction... The domestic background is especially difficult for me to work in because I'm finding that it seems irrelevant and skews the meaning of the image. The work is no longer about form, it is about the uncanny, which is not just a deviation but a major change of track. I'm not going to persue this sculpture idea just yet, but Bernhard Blume's action shots are intriguing and create a similar abstraction through movement rather than this staged, deliberate stillness which I find quite stagnant and suffocating.

Ed Ruscha & Photo/painting

my own photograph

Approaching photography from a painterly angle: form, shape, colour, light, 'art objects' (ed ruscha)

Ed Ruscha, Untitled (three kids in a bed), 1959

Asphalt Jungle, 1991

Helmick and Stuart Schechter

"Fata Morgana: an optical phenomenon that creates the illusion of water, often with inverted reflections of distant objects, and results from distortion of light by alternate layers of hot and cool air. Also called mirage."

Pae White

Pae White's suspended sculptures are simple and hold a humble elegance which I'm drawn to in terms of presentation and concept. A white space seems to be typical of most suspended installations - though I was pleased with my work last year in a dark studio, photographing minimally lit objects so they popped out from a blackness and created an more ominous and stylized mood to White's sculptures. I think it's important to consider this idea from the point of view of a photomedia artist - there will be different things to consider if my final artworks are to be photos of the sculpture, rather than the installation itself. Also to note - the strings in these installations are visible, though not obvious, and still they do not detract from the magic of seemingly floating objects.

Chunky Move

Assembly 2011

Went to see the world premiere of Gideon Obarzanek's final work with Chunky Move. I'll let him do the talking! (it was brilliant, hypnotising)

All in a Day

A study of colour temperature and light throughout the day, I've taken photographs on the same camera (white balance) settings, every hour for 12 hours in a day. You can see a gradual change in colour temperature: growing colder toward the evening. Obviously exposure, shadows and the angle of light alter as well.

morning

midday

afternoon

evening

Everynone

WORDS from Everynone on Vimeo.
 beautiful, simple art videos by Everynone - I especially appreciate the combo of music and real recorded sounds - the clips selected are genius, too!

Fenk

James Turell

Theme: Electricity

Atsuko Tanaka, Electric Dress, 1956

From a thematic perspective, I'm interested in photographing & editing some form of electricity, whether it be artificial light (in the studio or preferably in real world pop-art style) or actual sockets, plugs, cords and globes. I think on a large scale and in an industrial exhibition space like Horse Bazaar, these subjects will provide an overpowering and relevant visual effect. I do not exactly wish to 'make a statement', as Atsuko Tanaka did with her 'Electric Dress' (above), which stood as a neo-dada statement about the traditional v. new-age industrialism. I'm more interested in the optical effects of electricity, and wish to make the most of this large-format project in examining the purely objective, visual effects of a certain pop material - as listed above. The use of Adobe Photoshop in this project also contributes to this electric theme - I wish to make obvious a relationship between the digital image and the digital world, instead oft he 'unedited' analogue photograph's relationship with nature.