A study in Surface

Friday, February 14, 2014

To consider colour, one must first consider the surface to which it is applied. Refracted light creates shapes and shadows which move in time with the light source. Light dancing on the surface of gold is almost impossible for the eye to ignore.

Jeneil Williams by Txema Yeste | On the Rocks, Numero #150, February 2014
Chris Wiley | 20, 2012, via Nicelle Beauchene Gallery
Shu Pei by Bojana Tatarska | Glass Magazine, Fall/Winter 2012
Giles Miller Studio | Innovative Surface Design
Georgia May Jagger by Nick Knight | Always & Forever, Garage #6, Spring/ Summer '14


Thursday, February 6, 2014

Lindsey Wixon by Greg Kadel | Numero #150, February 2014

A study of movement

Movement can only be suggested in an image, yet by remaining static allows the viewer to to be in control of the possibilities. We see the gestural brushstrokes, evidence of physicality, or the consequence of natural forces, and then that image becomes whatever we imagine. The artist hands over the possibility of movement to the viewer.

Daria Werbowy By Daniel Jackson | The Face Of Beauty Now:  For Harper's Bazaar February 2014
Michael SchlegelStreaming through Black Sand II - Iceland, 2011
Doris Salcedo | Shibboleth, Turbine Hall, Tate, 2007
Seon Ghi Bahk | Water Plate
Photograph | Bloom #14
Amy Judd | Beautifully Obscure
Kate McGwire | Flail, 2013
Mariacarla Boscono by Peter Lindbergh | Vogue Italia, January 2014
RUVEN AFANADOR | Exhibition: Mil BesosEstudio de Baile Alicia Marquez, Outside of Sevilla, Spain, 2007
Pierre Soulages | Painting
Li Xiao Xing by Johan Sandberg | Rodeo Magazine, October 2013
James Booth | Spotlight Taken at London Zoo, July 22, 2013, via Flickr
Karl Martens | Bird
Zelir | Black Orchid, via DeviantArt
Raegan Bird | The Rush of Melting Igloos, March 27, 2011, via Flickr
Whitney Ott | Photography, Food: Dark


Audrey Marnay by Herb Ritts | Enchanted Evening, US Vogue, September 1999
Alex Wek by Gilles Bensimon | Elle USA, March 1999

A Study in Shape

Saturday, February 1, 2014

A line is an unbroken stretch upon which the eye can travel. Travel straight and there is a sense of definition and completion, while arch lines seem softer, mimicking natural forms and undulations. Repetition stimulates and soothes through pattern recognition.

Fan Ho | Approaching shadow, Hong Kong Yesterday, 1954
Michael Kenna or on Artsy | Conical Hedges, Versailles, France, 1988
William Keck | Reflection and Mirroring, 1939
Catherine Wales | Project DNA 
Angela Lindvall by Karl Lagerfeld | Chanel Fall, 1999
Izis Bidermanas | Lagny, 1959 
Gwen Los by Michael Sanders | It's a breeze, Marie Claire, UK, January 2014
Marlene Dietrich by Milton H Greene | Photo 1952

A Study in Texture

A study in texture becomes a study in contrasts; soft, linear folds enveloped by nubbly tufts, the cool drape of one encased by the coarse warmness of the other. Or is the pile plush rather than coarse? Either way, a contrast of texture within the same palette allows the eye to freely explore differences and gain relief without the competing factor of colour.

Vanessa Jackman | Street Shot
Bradley Walker Tomlin | No.8, 1952
Chad Wys | Arrangement in Skintones 8, 2011
Michel Blazy | Bouquet Final Installation, via Afflante
Satsuki Shibuya | Photo
Rick Poon for Cereal Magazine | Griffith Observatory, LA
Dimitris Lantzounis | Shipwreck @ Zante, Aug 12, 2012

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