Friday, 25 February 2011
Wednesday, 16 February 2011
Seventeen-year-old, 'X' lives in a 'favela' in Rio de Janeiro, Brazil
This unnamed four-year-old boy lives on the outskirts of Rome, Italy. He and his family all sleep on the mattress in the photograph
Where Children Sleep, set to be published later this year by Chris Boot, is a collection of James Mollison's photographs of childrens' bedrooms from around the world.
"I hope this book will help children think about inequality, within and between societies around the world," says Mollison in his introduction, "and perhaps start to figure out how, in their own lives, they may respond."
Monday, 14 February 2011
Thursday, 10 February 2011
When visiting the Victoria & Albert museum in London I opted to check out the latest exibition ‘Shadwo Catchers’. Shadow Catchers present the work of five international contempory artists. They work without a camera creating images on photographic paper by casting shadows and manipulating light, or by chemically treating the surface of the paper. Camerlas phography shows what has never existed. Leaving room for imagination, transforming the world of objects into a world of visions.
Wednesday, 9 February 2011
These are my three hand rendered pieces for the Sense of Place brief. My intentions were to convey the true essence of the Cumberland Basin through the forgotten objects, night skyline and busy bridge Brunel style. The work featured in the christmas exhibition.
Tuesday, 8 February 2011
'I’m interested in the way they occupy the street spatially, face-down or lying sideways. Often the aesthetic style of the sofa matches the architecture it used to be housed in. I don’t touch or re-arrange them, and I wait until there’s no-one in the frame. Somehow they bring a certain calm to the chaos of the urban environment. '- Christine Donnier-Valentin
The visual language of the movie, with its psychedelic colors and frequent use of the first person perspective, is heavily inspired by imagery associated with psychadelica and drug use. Noé's radical approach extends into the opening title sequence. Noé is interested in cinema as a physical experience. To provoke a visceral response from the audience, Noécreated a violating pace and used pulsating strobe effects for the opening titles of Enter the Void. The sequence combines myriad iconic typographic archetypes, if not clichées, with film company logos – a reference to the futuristic neon signs that line the streets of Kabukichō, Tokyo's red-light district in Shinjuku. The distorted electronic score is by LFO. Who ill be seeing at Bloc festival in march.
'Kan exploits every trick in the commercial lettering manual: drop shadows, bevelled edges, Gothic type, neon type, 1960s futurism, shattered letters, melting letters. Spliced together with Japanese characters and subjected to jittery filters and treatments, this maelstrom of words signals the delirious, immersive excitement of Noé’s Tokyo, a city of nightclubs, logos, adverts, neon, throbbing music, drugs and sexual sleaze, a place where spiritual compasses can easily spin out of control.' - Rick Poyner, Eye Magazine