Tuesday, August 26, 2014

Digipressionism? Psychedelicate? A remastering of borrowed images, disrupting the visual order and confusing the authorship.


Katrin Thormann by Erik Madigan Heck | Into the Woods, Harper's Bazaar UK, September 2014


Friday, August 22, 2014

Sonia by Sonia Rykiel Pre-Summer 2015 |
Michael Chase, Area of Interest | Peeling paint
Simon Davidson | Burnouts
Pierre Soulages | painting
Vodafone Building Porto, Portugal by Barbosa & Guimaraes | Concrete close-up
Nicholas Alan Cope & Dustin Edward Arnold | Process Journal
Carmelo Blandino | Painting
Marco Reichert | Painting
Lada Kravchenko by Sven Baenziger | Lo Sport for Grazia Italia, 25th June 2014


Thursday, August 21, 2014

The human image is increasingly being viewed in 2D. Our selves are turned into selfies; our multi-sensory world filtered to focus on screens.

The first human captured in a photo was in 1838 in Paris by Louis Daguerre (AnOther). We currently live in a world of around 7.25 billion people, with just under 3 billion having internet access. Over 20 billion photos have been shared on instagram, 83.1 billion posts on tumblr, 30 billion pins on Pinterest and 100 hours of video are uploaded to Youtube every minute. There is more content than people to see it.

In our increasingly visually literate culture, what does it mean to transform our human likeness into flat, 2D images? Benjamin Schwartz for the New Yorker asked "Hey, would you mind taking a quick sculpture of me and my family?" Do we become less human because an image is static, a captured reflection in time? And if so, has the woman in a photoshopped editorial become purely image, a constructed shape on a page?

Jacquelyn Jablonski by Glen Luchford | AnOther Magazine, F/W 2010
Louis Deguerre via AnOther | Tish Wrigley, The World on the Street, AnOther, August 19, 2014
Current world population | GeoHive
Internet statistics | Internet Live Stats and Internet World Stats 
Instagram | Press page
Tumblr | Digital Market Ramblings
Pinterest | Digital Marketing Ramblings
Youtube | Youtube Press
Benjamin Schwartz | Conde Nast Collection


Monday, August 11, 2014

Rugged surfaces make for adventurous playgrounds, be they in paint or fabric.


Anna Jagodzinska by Lachlan Bailey | The Gray Lady, WSJ, September 2014
Conrad Jon Godly | Paintings including o.t.studien, sol, sol studien 

Future Sailors

Thursday, August 7, 2014

Deep space and oceanic depths hold dark oases of mystery, launching our next frontier communities and creative endeavours. Seasteading creates independent, self-ruling floating cities; the preparation to colonise Mars is underway. And back on earth, time has shattered from linear chronology to an amalgamation of moments and references.

Fascination with the past and the future is nothing new. We travel in and out of time, collecting references as we go. It's just that at each moment we stand at the furtherest point out into the unknown, accumulating more and more time behind us, accumulating more historical data from which to draw from. While some seek out new frontiers, we all live on the precipice of time.

See Raf Simon's collection for Christian Dior Fall Couture 2014 for an excellent example of blurring chronologies and the creation of new forms from the past and imagined future.

Catherine McNeil by Benjamin Lennox | Magnetique, Numero #155, August 2014
Seasteading | The Seasteading Institute
The Mars Mission | Mars One
Christian Dior Fall Couture 2014 | Collection and Review
And a bit of Boosh... | Future Sailors


Wednesday, August 6, 2014

A uniform marks you as belonging to something. There is an identity, whether by choice or prescription. Tribes, teams, students and inmates all are identified by uniform elements. Does the sense of identity differ if the decision to belong is made for you? Is being swept up in a team victory any different from becoming faceless in a school assembly? I'm curious if the perceived worth of particular emotions override the loss of individual identity. And even if the lessening of individuality is in fact a loss.

Uniforms not only give the wearer an identity, but also to some extent, equality. Within your tribe, you are all marked the same. Your visual identity is consistent. To what degree you accept and uphold this consistency must surely rest on whether you chose to belong. Just ask any school student the myriad of  modifications they can make to subvert uniform policies. So even then within large tribes, smaller tribes form, further marking themselves. Creating a uniform identity.

In Huxley's Brave New World, the idea of prescribed identity and uniformity is foundational to their society. Fascinating and terrifying, and providing me with plenty of clouds in my daydreams.

Nicole Pollard by Georges Antoni | Rush for Elle Australia, July 2014
Aldous Huxley | Brave New World

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