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15 Jun 09:08

Fractured Ice Drifts Atop a Frosty Baltic Sea in Bernhard Lang’s Stunning New Photos

by Grace Ebert
crushed ice atop a bright blue water

All images © Bernhard Lang, shared with permission

Massive ice floes crush like pebbles in a frosty series by Bernhard Lang. Known for his stunning aerial photos that capture the intricate textures found around the globe, Lang recently flew above the Baltic Sea to glimpse the wintry conditions. Awash in snow and ice, the photos create a compelling tapestry of life from Estonia to Finland that includes traversing the frozen Peipsi Lake on foot and watching crystalline structures form on the water’s surface.

Lang is currently splitting his time between Germany and Estonia, and you can find more of his aerial sights on Instagram

 

crushed ice atop a dark black water with a red boat moving through it

masses of ice and snow fracture on the landscape

bright blue ice crawls across the water

a boat launch with ice crushed around it

masses of crushed ice and snow fracture on the landscape

an ice and snow covered expanse

Do stories and artists like this matter to you? Become a Colossal Member today and support independent arts publishing for as little as $5 per month. The article Fractured Ice Drifts Atop a Frosty Baltic Sea in Bernhard Lang’s Stunning New Photos appeared first on Colossal.

04 Jun 07:52

The Three Little Pigs

by Corey Mohler
PERSON: "The first little pig built his house out of straw. The wolf huffed, and puffed, and blew the house down. "

PERSON: "The first little pig built his house out of sticks. The wolf huffed, and puffed, and blew the house down."

PERSON: "The third little pig built his house on an unbroken chain of freely entered into contracts with other animals."

PERSON: "He carefully explained to the wolf that because each contract had mutual consent, he fairly owned this property, and it would violate the non-aggression principle to trespass onto it."

PERSON: "Each lender agreed to pay interest, so..."

PERSON: "The wolf devoured him on on the spot, and redistrubuted his property among the wolf pack."

PERSON: "Remember kids, all property is gained and maintained through violence, be it the violence of the individual or the violence of the state, and it can be seized by the same means."
02 Jun 09:14

Soie

by hannahgross

Use Of Elegant Black and White

Since 2014, Angélique Boissière has been exploring film photography through medium format, which she likes for its square framing, and thus to get reacquainted with an art that calls to her from her teenage years. With a classical artistic background nurtured through her practice of dance and her affinity for Impressionist and Romantic imagery, the feminine nude came up as an obviousness, given the immutable place it takes in the western Art History. It is with the same aim of universality that the photographer flourishes through the use of elegant black and white.

ILFORD FP4+

Free and Spontaneous

In the early stages of her art, Angélique discover herself through self-portraiture. Which, if at the start was only a convenient means to explore the craft of photography, now evolved into an exploratory dimension of the artist in which she finds herself more free and spontaneous than in sessions with models. Indeed, her self-portraits approach an introspective photography which seeps in daily life. In this realm, she invents and reinvents herself as her inspiration surges goes by and the resulting pictures question reality: where is the limit that keeps apart the photographer from her character, the woman from the artist, the pure aesthetic subject from her reflection?

Angélique Boissière Angélique Boissière

To Preserve

In contrast, the shootings with models defines as a more thoughtful process, requiring meticulous attention to composition and mastery of lighting. While the human element lies at the core of Angélique Boissière’s work, it is through the simplicity and authenticity of her captures that it is elevated, devoid of artifice. The eye is acquainted with the emerging entity, dressed or unveiled, without ever compromising the intention to preserve its inherent naturalness.

Angélique Boissière Angélique Boissière

Soie

To grant us a glimpse of these beauties captured in their essence, the artist has meticulously conceived and designed two self-published books: Marées (2018 – republished in 2020) dedicated to four years of seaside snapshots featuring multiple wistful portraits bathed in natural light; and Soie (2021) that gathers not only nudes and portraits, but also intricate details and landscapes in a more personal monograph.

Angélique Boissière

ILFORD FP4+

Angélique Boissière

ILFORD FP4+

The Analog Process

As much an artist as a craftswoman, Angélique takes part in all the steps involved in the creation of picture: the photographer develops herself her exposed film that she then reworks digitally to imbue it with its distinctiveness. The analog process is fully embraced by the wish to accompany, throughout the various processes, the imagined picture, its physical medium, and then its ultimate realization. Beyond the usage of a camera, the artist is on with this extension that often embodied by a Pentax 67 or a Rolleiflex, being an integral part of droves of her self-portraits.

Angélique Boissière Angélique Boissière

Images ©Angélique Boissière

The post Soie appeared first on Ilford Photo.

15 May 07:49

Inspired by Impermanence, Juliette Minchin Burns Down Her Elegant Wax-Dipped Installations

by Grace Ebert
wax drips from a softly lit architectural box

“La veillée au candélou” (2020), wax, steel, and wicks, 200 x 200 x 225 centimeters, installation view at Palais des Beaux-Arts de Paris. All images courtesy of Juliette Minchin, shared with permission

French artist Juliette Minchin appreciates wax for its ambivalence. Activated by heat, the modest material can be smooth or crinkled, firm or pliable, and molded into a distinct shape or pooled into a puddle of liquid. No matter its current form, though, wax can quickly morph from one state to another, and this impermanence is partially what inspired Minchin to incorporate the sticky compound into her practice about five years ago.

Today, the artist creates large-scale installations and sculptures often embedded with candles. “The cross, vigil with thorns,” for example” arranges 33 wax-dipped panels in an enormous T-shape centered in a stark 13th-century Cistercian abbey. Each day, 363 wicks burned and melted away the dried substance to slowly reveal a botanical motif in steel.

Alternatively, architectural works like “Vitrail soufflé” are static for longer periods. The stained-glass window rendition features sheer, curtain-like panels bulging and falling around an arched metal frame based on the original construction. Appearing caught in the wind, the billowing sheets are made by pouring liquid wax on flat surfaces to create a thin layer, which Minchin peels off while warm. “I place them on the metal structures, and I have about two minutes to sculpt them. It’s a dialogue between what the material offers me and where I want to take it. I have to let myself be guided by the accident and instantaneity,” she tells Colossal.

 

left: thin wax sheets drape across an arched window. right: wax sheets appear to billow out from a window

“Vitrail soufflé” for ‘RIVELAZION’ at Museo Sant’Orsola Florence

While the physical properties are endlessly appealing, Minchin is also intrigued by wax’s cultural and spiritual connotations, particularly superstitions and funerary rites. Romans would sculpt lifelike masks to immortalize the deceased, and the ancient embalming method of mummifying shares an etymological root with the Persian word for wax. Candles, though, also signify light and hope for the future, and the contrast between life and death adds to the material’s ambiguity.

Minchin sees her work in this same vein, “as much a destruction as a rebirth” because she re-melts and molds the materials from one piece into subsequent projects. “Paradoxically, the process of destruction makes the work very much alive, since it evolves without the artist’s hand and generates forms autonomously,” she adds, likening wax to human flesh for its protective and vulnerable qualities. This bodily metaphor returns again and again in her practice, particularly as it relates to life’s cycles and time passing. The melting process, she explains:

…is like a soul leaving one body for another… I am inspired by the classical concept of memento mori when two opposite states, two contradictory times cohabit in the same object: stability and fall, presence and absence, birth and (disappearance). Is it disappearing or being born?  I want to produce an image of a ruin where some parts were saved and partially reconstructed and that we have the feeling of a day after a party.

Minchin’s work will be on view in June at Art Basel with Anne-Sarah Bénichou Gallery and later that month for a solo exhibition at Museo Sant’Orsola in Florence. Until then, find an archive of her projects on her website and Instagram.

 

a large cross shaped installation with panels of wax stands in an ornate brick hall

Installation view at Beaulieu Abbey in Rouergue of “The Cross, vigil with thorns,” wax and steel, 28 meters x 11 meters x 2.25 centimeters. Photo by Damien Aspe

lit candles drip down from a steel panel in a room

“Solstice” (2021), wax, steel, and ceramic beads, 100 x 200 x 240 centimeters. Image ©ABAD

left: a chandelier like sculpture covered in lit candles. right: a detail of the sculpture showing dripping wax

“Lustre” (2024), wax and steel, 200 x 120 centimeters. Installation view of ‘Rivelazioni’ in Florence. Photo by Cinestudio

panels of wax with pockets of flames line columns

“Veillée aux racines (Vigil with roots),” installation view for ‘RIVELAZIONI’ at Museo Sant’Orsola, Florence. Photo by Cinestudio

a circular wall sculpture with thin wax sheets billowing out around it

“Oculus” (2023), wax and brass, 80 x 20 centimeters

a white woman with red hair in a beige button up and pants stands in front of a tall architectural armature draped with wax sheets

Juliette Minchin with “Cascade” (2023), 5 x 3.4 meters, wax and steel, at Patinoire de Saint-Ouen. Photo by Romain Darnaud

Do stories and artists like this matter to you? Become a Colossal Member today and support independent arts publishing for as little as $5 per month. The article Inspired by Impermanence, Juliette Minchin Burns Down Her Elegant Wax-Dipped Installations appeared first on Colossal.

14 May 16:50

Susanna Bauer’s Intricately Crocheted Leaves Celebrate the Elegance and Ephemerality of Nature

by Kate Mothes
a delicate sculpture made from a magnolia leaf with crocheted lace around the edges

“Breathing lV” (2023), magnolia leaf and cotton thread. All images © Susanna Bauer, shared with permission

Merging organic forms with timeless craft, Susanna Bauer emphasizes incredible details in her intimate leaf sculptures. Working with a range of foraged species, from ginkgo to magnolia to oak, the artist (previously) meticulously stitches around the edges or fills in tiny incisions, creating intricate lacework compositions.

A new monograph Susanna Bauer: IN LEAF, published by 5 Continents Editions, celebrates her use of natural ephemera to create elegant pieces exploring the relationship between strength and fragility. “Nature becomes a metaphor for humanity: the artfully interwoven threads remind us that we are all part of a vaster network and therefore generators of connections,” Valentina de Pasca writes in an introductory essay.

Bauer created a limited edition that includes a magnolia leaf circle crocheted into the opening page. She is releasing these in batches, which have previously sold quickly, so keep an eye on her website for the next update. You can also preorder a standard copy of IN LEAF on Bookshop.

If you’re near Austin, stop by the Affordable Art Fair, which runs May 16 to 19 at the Palmer Events Center, where Bauer is showing work with Muriel Guépin Gallery. Follow more updates on the artist’s Instagram.

 

a delicate sculpture made from a magnolia leaf with crocheted lace around the edges

“Holding Memories” (2024), magnolia leaf and cotton thread

a delicate sculpture made from three magnolia leaves with crocheted lace in the center, connecting them

“Three ll” (2017), magnolia leaves and cotton thread, 18 x 18 centimeters. Photo by art-photographers.co.uk

a delicate sculpture made from two small magnolia leaves with crocheted lace connecting them around the edges

“All I Need” (2023), magnolia leaves and cotton thread

a delicate sculpture made from a fatsia leaf with crocheted lace in circular cutouts in each part of the seven-petaled leaf

“Seven” (2022), fatsia leaf and cotton thread, 29 x 22.5 centimeters. Photo by art-photographers.co.uk

two sculptures made with a magnolia leaf (left) and an oak leaf (right) that have intricate crocheted lace borders

Left: “Adornment XVlll” (2024), magnolia leaf and cotton thread, 19.2 x 10.6 centimeters. Photo by art-photographers.co.uk. Right: “Whisper ll” (2023), oak leaf and cotton thread

two curled magnolia leaves with crocheted lace at the ends

“Side by Side” (2022), magnolia leaves and cotton thread, 14.5 x 12.5 x 4 centimeters. Photo by art-photographers.co.uk

two side by side images of leaf sculptures, on the left showing two ginkgo leaves with a crocheted cutout in the center, and on the right, a magnolia leaf with a crocheted lace border

Left: “Ginkgo Pair lll” (2022), ginkgo leaves and cotton thread. Right: “Shine” (2023), magnolia leaf and cotton thread, 11.7 x 16.4 centimeters. Photo by art-photographers.co.uk

two hands hold a book featuring a leaf sculpture with a crocheted interior, with the title 'Susanna Bauer'

Do stories and artists like this matter to you? Become a Colossal Member today and support independent arts publishing for as little as $5 per month. The article Susanna Bauer’s Intricately Crocheted Leaves Celebrate the Elegance and Ephemerality of Nature appeared first on Colossal.

09 May 09:04

“Eternity! Eternity!” by Photographer Vincent Glielmi

by Staff

Vincent Glielmi

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Vincent Glielmi’s Website

Vincent Glielmi on Instagram

10 Apr 07:41

Photography is Cool

by RZZ

Photo by Brandon Getty

More photos from our most recent issue.

CLICK HERE TO GET YOUR COPY

Photo by Christopher Radney

Photo by Dave Glass

Photo by Louis Fabries

Photo by Sila Yalazan

28 Mar 08:00

In Sand and Stone, Jon Foreman Sculpts Hypnotic Gradients and Organic Motifs

by Grace Ebert
yellow leaves radiate outward on the forest floor

“Aureus” (2022). All images © Jon Foreman, shared with permission

Nature’s subtle irregularities and variations are fodder for Jon Foreman (previously). Using found leaves, stones, and sand, the Wales-based artist assembles swirling gradients and organic motifs that radiate across forest floors and beaches. He precisely arranges each composition by size and color, relying on basic geometric principles to transform a humble material and unconventional backdrop into stunning artworks. Considering the constructions last just a short time before they’re blown or washed away, head to Foreman’s Instagram to see them in pristine condition.

 

a circular stone gradient work on a beach

“Stone Knitting” (2024)

undulating lines of stones trail across the beache

“Pontis” (2024)

water juts up against an organic stone motif

“Aqua Exemplaria” (2024)

a swirling stone artwork on a beach

“Triplex Motus” (2023)

a white stone spiral that radiates outward on a beach

“Stella Spiralis” (2023)

branches shaped like a helix crawl up a tree with orange leaves around it

“Helix” (2024)

a radiating circular fire-like work on a beach

“Crescents Glow” (2024)

the artist sits on the beach next to a geometric stone work

“Quadratura” (2024)

Do stories and artists like this matter to you? Become a Colossal Member today and support independent arts publishing for as little as $5 per month. The article In Sand and Stone, Jon Foreman Sculpts Hypnotic Gradients and Organic Motifs appeared first on Colossal.

22 Mar 08:18

A Nonprofit Is Creating Modern Loungers Entirely from Plastic Pulled from Bali’s Waterways

by Grace Ebert

All images © Sungai Watch and Sungai Design, shared with permission

Despite the idyllic photos that populate Instagram feeds and travel blogs, Bali has a plastic problem. The island produces 1.6 million tons of waste each year, and thanks to ocean currents, it also receives tidal waves of pollution from neighboring islands that bury its beaches in mounds of trash, debris, and even rotting animal carcasses during monsoon season. To mitigate the problem, two sister organizations have teamed up to clean Bali’s waterways and transform the uncovered waste into useful goods.

Sungai Watch leads the first part of the process by identifying problem rivers and installing wide barriers to trap pollution. Since launching in 2020, the nonprofit has pulled 1,718,562 kilograms, nearly 1,900 tons, of plastic from the waterways.

Once cleaned and sorted, the waste is handed off to Sungai Design, which shreds and presses the material into large panels. CNC machines cut parametric components that are fashioned into a line of modern chairs, while offcuts are recycled into other products. Available in two shapes and three colors, the speckled designs both feature wide, sloping seats and angular legs. Each recycles an estimated 30 kilograms of plastic.

To dive into the trash collection process, head to YouTube, and shop available products from Sungai Design.

 

Do stories and artists like this matter to you? Become a Colossal Member today and support independent arts publishing for as little as $5 per month. The article A Nonprofit Is Creating Modern Loungers Entirely from Plastic Pulled from Bali’s Waterways appeared first on Colossal.

19 Mar 10:18

Orangutan Freedom

by Corey Mohler
PERSON: "Haha, stupid monkey in a cage! "

PERSON: "I may be in a cage, my brother, but i am more free than you!"

PERSON: "You are a slave more than me - a slave to work, a slave to your boss, a slave to capitalism."

PERSON: "What the hell?"

PERSON: "Every day you go to a job you hate, to toil away on tasks you don't want to do, all so you can afford to pay your landlord rent."

PERSON: "So who is really free, human? "

PERSON: "You told him a thing or two about real freedom!"

PERSON: "Shut up, idiot, we are literally in a cage. my only freedom is being able to antagnozing the tourists."
07 Mar 08:28

The Wealth of Dragons

by Corey Mohler
PERSON: "I shall defeat you, evil dragon, and steal your horde of wealth! "

PERSON: "Finally, the beast is slain, the gold shall be mine!"

PERSON: "What, what the hell is this? Where is the treasure hoard?"

PERSON: "That's a thresher, it seperates the wheat from the chaff automatically without much manual labor."

PERSON: "The wealth of nations lies not in gold or coins, but in their productive capacity."

PERSON: "You see, even with all the gold in the world, you can't produce more. All it will do is cause gold to be less valuable. What you need are machines to free up labor so you can create more with less."

PERSON: "I also have an automated cotton loom, if you are interested."

PERSON: "This sucks. I can't go back to the princess with this nerd shit. God damn nerd dragon."
27 Feb 09:06

The Metaphor of Godzilla

by Corey Mohler
PERSON: "Godzilla is destroying the city! "

PERSON: "We have but one desperate option, to try to stop him with...philosophy!"

PERSON: "All of our top scientists failed to stop him!"

PERSON: "Unleash....Hegel!"

PERSON: "Godzilla, why are you destroying everything?"

PERSON: "Because..."

PERSON: "But Godzilla, the cultural zietgeist of fear over the a-bomb is long past. The metaphor is no longer relevant, and people really only continue making the movies to cash in on their past popularity."

PERSON: "Well shit, that's not very cool."

PERSON: "If you are a metaphor for anything, it is nostalgia."

PERSON: "Oh...does nostalgia destroy buildings?"

PERSON: "Not really no. If anything it stops old buildings from being destroyed."
19 Jan 16:54

Broadening City Horizons: Nuno Cruz's Panoramic Street Photography Project

by emiliee

Armed with his trusty Hasselblad XPan and a Sprocket Rocket camera, film photographer Nuno Cruz decided to try out panoramic format in the streets of Amsterdam. We sent him some Lomography Lady Grey and Berlin Kino film and spoke with him about how each combination performed.

Read More

19 Jan 16:53

Cardboard Takes a Fantastical Turn in Greg Olijnyk’s Mechanical Insects and Wondrous Dream Factory

by Grace Ebert
a detail image of cardboard ants with glowing eyes

Detail of “Ants,” 50 x 50 x 15 centimeters. All photos by Griffin Simm, © Greg Olijnyk, shared with permission

Hordes of ants with serrated mandibles, a coiled caterpillar, and puffy white cotton-ball clouds materialize in Greg Olijnyk’s Melbourne studio. The artist continues his ever-growing collection of cardboard sculptures augmented with LED lights, toothpicks, and “a lot of hours and lots of coffee.” His most recent works include a trio of mechanical insects presented like entomological displays, their legs and heads revealing Olijnyk’s meticulous attention to detail and devotion to rendering minuscule features. Keeping with the wondrous world that he’s been expanding the last few years, the artist also fashioned a “Dream Factory,” a whimsical manufacturing plant shipping out the most fantastical imaginings.

For more of Olijnyk’s sci-fi universe of robots and uncanny architecture, visit his site and Instagram.

 

an overview image of cardboard ants appearing to crawl out of a hole

“Ants,” 50 x 50 x 15 centimeters

an overview image of a cardboard fly with four wings and long antennae

“Fly,” 50 x 50 x 15 centimeters

a close up image of the head of a cardboard fly with glowing eyes

Detail of “Fly,” 50 x 50 x 15 centimeters

an overview image of a coiled, C-shaped cardboard caterpillar

“Caterpillar,” 50 x 50 x 15 centimeters

a close up image of a cardboard caterpillar with lights glowing on its head

Detail of “Caterpillar,” 50 x 50 x 15 centimeters

a cardboard "dream factory" with lights illuminating stacks and puffy white clouds falling from a conveyor belt into the box of a dumptruck

“The Dream Factory,” 75 x 90 x 65 centimeters

a detail image of a cardboard "dream factory" with lights illuminating stacks and small walkways encircling the space

Detail of “The Dream Factory,” 75 x 90 x 65 centimeters

a cardboard "dream factory" with lights illuminating stacks and puffy white clouds falling from a conveyor belt into the box of a dumptruck

Detail of “The Dream Factory,” 75 x 90 x 65 centimeters

Do stories and artists like this matter to you? Become a Colossal Member today and support independent arts publishing for as little as $5 per month. The article Cardboard Takes a Fantastical Turn in Greg Olijnyk’s Mechanical Insects and Wondrous Dream Factory appeared first on Colossal.

09 Jan 10:19

Vibrant Digital Illustrations by Muhammed Sajid Evoke Memories of the Artist’s Hometown

by Kate Mothes
A colorful digital illustration of a woman in ornate Indian dress, surrounded by decorations like elephants, ducks, and architectural elements.

All images © Muhammed Sajid, shared with permission

“The two things I love the most are observing people and playing with colours,” says Bangalore, India-based artist Muhammed Sajid, whose vivid digital illustrations highlight personalities, garments, and visual culture inspired by his home state of Kerala. Ornate fabrics and objects surround figures who gaze directly at the viewer or interact with flora and fauna, and symbolic references to vernacular architecture and art fill each vibrant composition.

Sajid was inspired to start making portraits while he was in college, and over time, he honed his interest in portraying people and their surroundings. Initially, he worked in watercolor and poster paints, but found it difficult to achieve the saturated hues he was drawn to. “In the digital era, things are entirely different, and I started using different types of colours,” he says, exploring the full spectrum and building bold contrasts.

In his Folks from Kerala series, Sajid draws from memories and renders subjects who are reminiscent of people he would see around his childhood town. “Some of the pieces that I had done in that series show people who are familiar folks and faces from the village,” he says. “I felt that no one gave much attention to how simple and beautiful their lives were.” He continues to build on these initial explorations, combining elements of pop culture, fashion, and landscape.

Later this year, Sajid will show a couple of new pieces with Galerie Kurokama in Paris, which focuses on contemporary Asian art. Find more of the artsit’s work on Behance and Instagram.

 

A colorful digital illustration of a woman in ornate Indian dress, surrounded by various vessels, food, and other objects.

A colorful digital illustration of a woman in in a floral dress, wearing red earrings, and standing in front of a blue sky with bold clouds.

A colorful digital illustration of a woman's head in profile in an abstract stack of items including a TV, a hand holding playing cards, a bowl of oranges, flowers, and more.

A colorful digital illustration of a woman in black-and-white with a moth in front of her mouth and a red scarf.

A colorful digital illustration of a woman in ornate Indian dress, surrounded by bright green landscape and pink flowers.

A colorful digital illustration of a woman in ornate Indian dress, surrounded by flowers and bright landscape, with a rooster on her head.

A colorful digital illustration of a woman in profile, holding a lotus flower and surrounded by an ornate frame of more flowers.

Do stories and artists like this matter to you? Become a Colossal Member today and support independent arts publishing for as little as $5 per month. The article Vibrant Digital Illustrations by Muhammed Sajid Evoke Memories of the Artist’s Hometown appeared first on Colossal.

20 Dec 10:33

Most Beautiful News of the Year 2023

by David McCandless

Ending the year on a positive note, our picks of positive trends and admirable global breakthroughs of 2023.

Part of our Beautiful News project. There we surface the good news and happy data we can’t always see when fixated on the negativity of the news.

» See the charticle
» Explore the data and sources

12 Dec 10:40

“Dormant Season” by Photographer Erinn Springer

by Staff

Erinn Springer

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Erinn Springer’s Website

Erinn Springer on Instagram

12 Dec 09:30

Snow

For someone who has ostensibly outgrown staying up late waiting for Santa, I do spend an awful lot of time refreshing websites to see if packages are here yet.
09 Dec 13:36

Leo Amaya's Trip to South Africa With Lomography Film

by ludovicazen

We recently supplied Spanish photographer Leo Amaya with Lomography film for his trip to South Africa, and he surpassed expectations with these amazing pictures of wildlife.

Read More

05 Dec 09:22

JESSE’S VISUAL INTERVIEWS: Carlos Estevan Barceló

by Jesse Freeman

JESSE’S VISUAL INTERVIEWS: Carlos Estevan Barceló

 

Q1: Who are you? 

Q2: What is your favorite way to waste money?

Q3: What do you consider the most underrated virtue? 

Q4: When are you happiest? 

Q5: What did your first kiss feel like? 

Q6: Where is home?

Q7: Which body parts (yours or otherwise) do you feel the most affection for? 

Q8: What is your favorite vice?

Q9: How do you define childhood? 

Q10: What is your favorite time of day?

Q11: Who is your favorite person?

Q12: What is the most important thing in any relationship?

Thank you for your responses, Carlos!

First met Carlos at Berry a hidden bar in the Nakameguro area in Tokyo then again on the PhotoPeace charity walk we (JCH) did in 2022 making the photography connection. Always consistently interesting photography, especially in his Instagram stories, I finally reached out for this visual interview. Hell of a bartender as well haha. Check his Instagram here.

––––––––––––––––––––––––––––––––––––

See my other interviews here: Then click here to go to the archives.
-JF

The post JESSE’S VISUAL INTERVIEWS: Carlos Estevan Barceló appeared first on Japan Camera Hunter.

05 Dec 09:19

Fantasy Morality

by Corey Mohler
PERSON: " "

PERSON: "Wait, what makes you so sure that he is evil? Just because he's an orc?"

PERSON: "Yes, but you kill orcs, couldn't it be said that you are evil from his perspective?"

PERSON: "No, it's because he kills good people."

PERSON: "Isn't that a bit circular?"

PERSON: "Not really."

PERSON: "I have skulls on my helmet, how do you not get this?"

PERSON: "Wait a minute, you are one of those “neutrals” aren't you? From my perspective not standing with good is the same as evil."

PERSON: "Let's kill this neutral-doer!"

PERSON: "Yeah, and from my perspective neutral is just as good as good!"
25 Nov 08:19

Saturday Morning Breakfast Cereal - Ism

by Zach Weinersmith


Click here to go see the bonus panel!

Hovertext:
St. Peter just taps the crudely drawn No Girls Allowed sign made by God.


Today's News:

Whoever made the A City on Mars wikipedia entry, bless you. Now when people argue against stuff that we didn't actually say, I'm just linking to the page.

23 Oct 12:48

“Gum Shoo” by Artist Aaron Luckman

by Staff

Aaron Luckman

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Aaron Luckman’s Website

Aaron Luckman on Instagram

17 Oct 08:13

The Philosophy of War

by Corey Mohler
PERSON: "They wish to negotiate, Sire. "

PERSON: "Very well. Let's see what they have to say."

PERSON: "I've consulted with my Philosopher, and he says we should settle this with single combat, to spare the useless loss of life."

PERSON: "I see..."

PERSON: "That is very persuasive."

PERSON: "Yes, it certainly is. So we are both agreed on what to do, obviously?"

PERSON: "So it is peace then?"

PERSON: "Agreed."

PERSON: "Agreed."
27 Sep 08:08

A Winter in Greece, 1970

by hannahgross

1969

After too short a visit to Athens’s Parthenon in 1964, I vowed to return soon. By 1969 I was standing on the deck of a wave tossed Yugoslavian freighter with my back to New York City. Watching the grey, stormy, November Atlantic from the quiet of the Navigation Bridge was a peaceful retreat. Our first port-of-call was Casablanca. As a travel companion I had Greek philosopher Nikos Kazantzakis's book, Report to Greco, basically a story of Kazantzakis's search for his identity. It seemed a good reading choice for me, a 26-year-old, also searching for my identity.

A Winter in Greece, 1970

The Parthenon, The Acropolis

Parthenon, Acropolis, Athens, Greece

Two months later, I was finally climbing the Acropolis again to view the Parthenon and the experience surpassed my memories! The Parthenon's white Marble, from nearby Mount Pentelicus, shown in the sun. To help understand the complex Greek culture I read Nikos Kazantzakis's writings and Edith Hamilton's book on Greek mythology. Edith Hamilton describes in her book Mythology: Timeless Tales of Gods and Heroes, a contest between the God Poseidon and the Goddess Athena. Athena made an olive tree, "the most prized of all the trees of Greece," grow on the Acropolis. Athena was judged winner of the contest! Through Edith's eyes I felt connected to an early mythical belief system that formed a base for Greek culture. From Piraeus I took the night ferry to Iraklion, Crete where Nikos Kazantzakis was born in 1883.

A Winter in Greece, 1970

Horns of Consecration

Minoan sculpture "Horns of Consecration" Knossos Palace, Iraklion, Crete

In 3,500 BC Iraklion, Crete was the center of the Minoan civilization. The Minoans were skilled in metallurgy and engineering, working with copper & bronze. They also practiced ritual bull leaping. The sculpture Horns of Consecration represent the bull's horns that athletes would jump over. In Greek Mythology, the Palace of Knossos was the site of the Minotaur's Labyrinth. The Labyrinth was built by Daedalus, father of Icarus who famously flew too close to the sun.

A Winter in Greece, 1970

Vineyard workers, Crete

Pruning Grape Vines, Knossos,  Crete, Greece 1970

The vineyard that these men were pruning in 1970 (near the Knossos Palace) was also a Minoan vineyard in 2,500 BC! A favorite Minoan wine was 'Passum'! The Minoans built a valuable trade exporting their wines and olive oil around the Mediterranean. The photograph shows a smiling vineyard pruning crew near the Knossos Palace. Edith Hamilton wrote, "Dionysus, the God of the Vine, was born of fire and nursed by rain, the hard burning heat that ripens the grapes and the water that keeps the plants alive."

A Winter in Greece, 1970

Donkey saddle, Delphia

A Winter in Greece, 1970

Pruning vine, Crete

Olive Grove

Donkeys were used to carry olives to a press to make olive oil. This family-owned olive grove was within site of Mount Parnassus, Delphi where the Temple of Apollo's oracle, the Pythia, would provide Seekers of Truth with answers. In the past, the Temple had a large inscription of the letter E (Epsilon) on the front. Today E's meaning still remains an enigma!

A Winter in Greece, 1970

Ripe, "gray-gleaming olive", Delphi

The Ripe Olives

In January the olives were gathered. They knocked the olives from the trees with long poles. The olives were gathered up by hand and put into baskets which the donkeys caried to an olive press. In Greek mythology Athena created the olive trees. Here is my photograph of "The gray-gleaming olive, Athena showed to men," described by Edith Hamilton. Also a photograph of the family olive grove owners having lunch. I helped pick up the ripe olives from the ground and later shared lunch. They introduced me to sesame-seed Halva, one of the best of many Greek sweets!

A Winter in Greece, 1970

Lunch, Delphi

 

A Winter in Greece, 1970

Gathering Olives

Building Donkey Saddles, Sita, Crete

Many craftsmen were involved in making donkey saddles. Carving a wooden donkey saddle, Sita, Crete.

A Winter in Greece, 1970

Skillfully building by hand the frame for a donkey saddle.

Byzantine Church

The 13th Century Byzantine Church of Panagia Kera is the major attraction to Krista, a small  mountain village in Eastern Crete. On a hike I climbed upward from the village to the music of the goat herd bells. Nikos Kazantzakis wrote that the shepherds choose bells to provide a unique sound for their flock. A haunting Fresco depiction of Christ is part of the many 13th century frescos in the Church of Panagia Kera in Krista. Kazantzakis wrote, "three great figures, Odysseus, Nicephorus Phocas and Christ were toiling inside me to acquire faces."

A Winter in Greece, 1970

Krista

A Winter in Greece, 1970 A Winter in Greece, 1970

Kazantzakis

As warm and sunny weather approached my Winter Journey extended to Easter! Kazanatzakis wrote, "I said to the almond tree, Sister, speak to me of God, And the almond tree blossomed."

A Winter in Greece, 1970

Nikos Kazantzakis's grave site, Iraklion, Crete.

Iraklion's old city wall

Nikos Kazantzakis's grave site is located on Iraklion's old city wall. He wrote, "Standing on a street corner with hands reaching out to passers-by: Alms, brothers! A quarter of an hour from each of you  Oh, for a little time, just enough to let me finish my work.  Afterwards, let Charon come."

A Winter in Greece, 1970

This photograph shows a small Wayside Chapel miles from any village. The Chapel was immaculate and freshly whitewashed. It provided me with a reminder of the importance that religion has in Greece.

"A Winter in Greece, 1970"

"A Winter in Greece, 1970" will be exhibited at the Watertown Free Public Library, Watertown, Massachusetts for the month of October, 2024. Twenty-one Gelatin Silver Prints will be exhibited. In 2023 I received a Grant from the Massachusetts Cultural Council which allowed me to print this exhibit. The print image size is 10 X 15 inches. I worked with two Nikon F cameras and 35mm, 50mm & 105mm lenses. For exposure readings I used a Weston Master V meter. These negatives are now 53 years old! I reprinted the negatives in 2023 on ILFORD Multigrade Fiber Base Classic Paper working with ILFORD Multigrade Printing Filters.

A Winter in Greece, 1970

Weaving Donkey Saddle Bags, Xanthi

Images ©Joseph Flack Weiler

The post wordpress-seo$s appeared first on Ilford Photo.

19 Sep 09:58

Saturday Morning Breakfast Cereal - Ambition

by Zach Weinersmith


Click here to go see the bonus panel!

Hovertext:
You can't see it but he's wiping his eyes on Georgia O'Keeffe originals.


Today's News:

Of all the compliments on the new book so far, kind words from Jonathan McDowell mean the most. Or, well, anyway, tied with the nice stuff Mary Roach said.

16 Sep 08:50

Photographer Spotlight: Jaka Teršek

by Staff

Jaka Teršek

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Jaka Teršek on Instagram

07 Sep 15:58

Saturday Morning Breakfast Cereal - Contrived

by Zach Weinersmith


Click here to go see the bonus panel!

Hovertext:
How come nobody ever considers the increased CO2 emissions of causing the trolley to switch tracks?


Today's News:

Another prestigious publication compelled to say Weinersmith.

06 Sep 07:14

Hyperrealistic Portraits Burst Into Botanical Shards in Vibrant Murals by Ratur

by Kate Mothes
A mural of a young woman with leaves bursting from her head and shoulders.

“Symbiose” (2021), Cransac, France. All images © Arthur Maslard, shared with permission

As if made of porcelain or glass, the monumental, serene faces of Arthur Maslard’s subjects fragment into sharply contrasted leaves. The French artist, also known as Ratur, draws on a background in graphic design and intimacy with nature to blend realistic features with fantastical, botanical explosions and abstract fields of color. “Every wall is challenging and different!” he says. “There is always a part of improvisation and adaptation. I would say that the most constraining factor is time.”

Maslard counts Hungarian painter István Sándorfi among his influences, honing the detailed interaction of light with flesh and folds of fabric. He often works alongside his brother Oscar, known as SCKARO, to realize hyperrealistic imagery portraying what Ratur describes as “humans faced with a nature in ruin, mythical figures, and symbols of perpetual rebirth.”

Ratur’s next project takes him to Sand City, California, for the West End Mural Festival in October. Explore more work on his website, and follow updates on Instagram.

 

A mural of a young woman with leaves bursting from her head and shoulders.

Untitled (2023), Annemasse, France

A mural of a young woman with leaves bursting from her head and shoulders.

“Renaissance” (2020), Rouen Impressionnée Festival, Rouen, France

A mural on a stack of shipping containers portraying a man in yellow sunglasses, with leaves bursting from his head and shoulders.

“Summer Vibe” (2023), North West Walls Festival, Belgium

A mural featuring oranges, leaves, and abstract shapes.

“Innate Connection” (2021), Vancouver, B.C., Canada

A mural featuring oranges and leaves.

“Sweet Life” (2023), Great Falls, Montana, U.S.A.

A mural of a young woman with leaves bursting from her head.

“Daphné” (2020), Dijon, France

An indoor mural of abstract shapes and colorful flowers and leaves.

“Above It All” (2022), Vancouver, B.C., Canada

A mural of two hands with fingers interlaced, with leaves bursting from them.

“Together” (2021), Paris, France

A mural on a side of a building at the end of a row of buildings in France, featuring oranges with blue leaves.

“L’Oranger” (2021), Saint Brieuc, France

Do stories and artists like this matter to you? Become a Colossal Member today and support independent arts publishing for as little as $5 per month. The article Hyperrealistic Portraits Burst Into Botanical Shards in Vibrant Murals by Ratur appeared first on Colossal.

30 Aug 07:44

In ‘Fancy Pigeons,’ Brendan Burden Captures the Flair of Underappreciated Birds

by Grace Ebert
A bird with brown and white feathers that flair up around its neck and head

Jacobin pigeon. All images © Brendan Burden, shared with permission

Often seen clambering for scraps on city streets, pigeons tend to be an overlooked and even despised species. The birds’ ubiquity in urban areas, and their colloquial characterization as “flying rats,” have given them a lackluster reputation that Brendan Burden upends in his ongoing series of portraits.

The Ottawa-based photographer originally encountered the crest of the Jacobin pigeon, a lavish crown of plumage that wraps around its neck like a voluminous garment. “I had no idea pigeons could look this way and started doing some research and came to find out that there is a wide variety of pigeons, wild and domestic, many of which are quite beautiful,” he says. “I wondered whether I could apply more formal portrait techniques to these birds.”

After coming across the Canadian Pigeon Fancier’s Association in Ottawa Magazine and diving into the organization’s member listing, the Fancy Pigesons series began to take shape. “My intention was to juxtapose the lowly pigeon with formal portraiture techniques and provide a new perspective on something ubiquitous, bordering on completely invisible,” Burden shares. Set against solid, paper backdrops resting in a large, show cage, the images evoke studio shots and capture each creature’s unique features. The Kormorner tumbler, for example, appears as if it’s wearing a turtleneck of brown feathers with a puffy collar, while the Moden’s gleaming, iridescent neck contrasts the soft, black and orange plumes of its body.

 

Two images, both of pigeons, the left has white and black feathers, the right has gray-green feathers

Left: English long-faced tumbler. Right: Lavender racing homer pigeon

As Burden photographed the birds—all are in the care of fanciers and avian enthusiasts rather than breeders—he learned about the unique relationship they have with humans. Pigeons are likely the first species to be domesticated, a history reflected in Mesopotamian cuneiform tablets and Egyptian hieroglyphics that suggest the practice was likely happening more than 5,000 years ago. He explains:

Had you asked me prior to undertaking this project, where they came from, I would have just assumed that they were wild and had some kind of symbiotic relationship with humans, like rats or mice or any number of other creatures. But in fact, they’re feral domesticated birds, and the reason they’re everywhere is in part because humans have been breeding them, often for nothing other than their beauty, for thousands of years.

As Burden adds to the Fancy Pigeons series, he’s shifting to photographing wild species, a change that requires more travel, time, and patience. “Being that they’re birds, sometimes you just don’t get what you hoped for and have to reshoot,” he says. You can follow his progress on Instagram, and shop limited-edition prints on his site. (via PetaPixel)

 

A pigeon with brown and white feathers that tuft around its neck

Kormorner tumbler

A pigeon with smooth brown and white feathers

Bald head roller

Four images, the top left and bottom right are of a pigeon with a feather on its head, and the top right and bottom left feature iridescent feathers

Top left: Crested pigeon. Top right: Copper black wing archangel. Bottom left: Egyptian swift. Bottom right: Crested pigeon

A pigeon with gold and white feathers turns its head

Domestic flight

A pigeon with beige feathers

Ring necked dove

Two pigeons, both with iridescent and gray feathers

Left: Show homer pigeon. Right: Racing pigeon

Black feathers splay outward from the back of a pigeon

Indian fantail

A pigeon with orange and purple-green iridescent feathers

Moden

Do stories and artists like this matter to you? Become a Colossal Member today and support independent arts publishing for as little as $5 per month. The article In ‘Fancy Pigeons,’ Brendan Burden Captures the Flair of Underappreciated Birds appeared first on Colossal.