cagaRuta

Incendio : Darío MR

cuaderno "Incendio" Dario MR

7knotwind:

LUCIA KOCH
transforms the interiors of humble paper bags and cardboard boxes— evoking contemporary architectural spaces through a shift in point of view before printing them at a monumental scale.

(thanks to likeafieldmouse for turning me on to this artist)

likeafieldmouse:

Cathlyn Newell - Concrete Ghosts: Curfew

Artist’s statement:

Curfew provokes the loss of a larger space to fleeting apparitions of darkness and memory.

Simply, the work is the ghosting of a darkened window, made of the strange and violent spatial lines embedded with candlewicks burnt away and trailing smoke true to the term curfew (rooted in the French term, literally to cover the fire).

Fleeting and vanishing (both physically and in memory), the line work is a dance between the fewest lines that can be trusted, and the imagination projected onto a darkened reality.

Its implications and threat of vanishing is the unknown reality, one that seems familiar, though always unfamiliar. Curfew remains something that is there among us, but anxious, fleeting, and aggressive, though even frightened in and of its own being.”

likeafieldmouse:

Matthew Stone - Selections from Optimism as Cultural Rebellion and Unconditional Love

likeafieldmouse:

Edward Burtynsky - Rock of Ages and Quarries

Artist’s statement:

"The concept of the landscape as architecture has become, for me, an act of imagination. I remember looking at buildings made of stone, and thinking, there has to be an interesting landscape somewhere out there because these stones had to have been taken out of the quarry one block at a time. I had never seen a dimensional quarry, but I envisioned an inverted cubed architecture on the side of a hill. I went in search of it, and when I had it on my ground glass, I knew that I had arrived. I had found an organic architecture created by our pursuit of raw materials. Open-pit mines, funneling down, were to me like inverted pyramids. Photographing quarries was a deliberate act of going out to try to find something in the world that would match the kinds of forms in my imagination.

I was excited by the striking patinas on the walls of the abandoned quarries. The surface of the rock-face would simultaneously reveal the process of its own creation, as well as display the techniques of the quarrymen. I likened the tenacious trees and pools of water to nature’s sentinels awaiting the eventual retreat of man and machine - to begin the slow process of reclamation.

Often my approach, the compression of space through light and optics, also yields an ambiguity of scale. I think that people are always trying to put a human scale on things. We need to put our human perspective into these images, and our presence is dwarfed by the spaces we’ve created. It’s an interesting metaphor for how technology seems larger than life, larger than our own lives.”

giffimse:

https://www.behance.net/gallery/The-Present-Cinemagraphs/13478125

The Present - Cinemagraphs

digbicks:

Romanticisation of Mental Illness, Kelsey Weaver

(Fuente: Flickr / kelseyweaverphotography, vía linamorgue)

likeafieldmouse:

Kilian Ruthemann - Untitled (2009)

likeafieldmouse:

Kilian Ruthemann - Untitled (2009)

ArtSlant Street - Barbara Talks Back to the City

"¿Qué me permite hacer aquí?"

infinitelull:

Rebecca Reeve - Marjory’s World, 2012

(Fuente: pleoros, vía bihh)

fer1972:

Lovely Water: Photography by Cian McKenna

(vía bihh)

likeafieldmouse:

Wolfgang Laib - Milkstone (1977-87)

likeafieldmouse:

Jessica Sanders - Accumulations (2011) - Beeswax on stretched canvas