The Bright Sessions
noise dept.
Keni
Mike Driver
let's talk about Bridgerton tea, my ask is open
Aqua Utopia|海の底で記憶を紡ぐ
No title available

if i look back, i am lost
art blog(derogatory)
YOU ARE THE REASON
Cosmic Funnies

Origami Around

Product Placement
One Nice Bug Per Day
Fieri Frames

Love Begins
ojovivo
Monterey Bay Aquarium

Jar Jar Binks Fan Club
Cookie Run:Kingdom Official!
seen from United Kingdom
seen from Malaysia
seen from Canada
seen from Bangladesh

seen from South Korea

seen from Venezuela

seen from Türkiye
seen from Philippines
seen from United States
seen from China
seen from Pakistan

seen from Singapore

seen from United States

seen from United States

seen from South Korea
seen from United States
seen from Germany
seen from Sweden

seen from Germany

seen from Malaysia
@jessyarrow6784-blog
How is this even possible? At a beach in Tokushima, Japan
Jim Denevan
Tree Drawings, Tim Knowles
A closer look at British artist Tim Knowles’ series of drawings produced using drawing tools attached to the tips of tree branches; the wind’s effects on the tree, recorded on paper. Like signatures each drawing reveals the different qualities and characteristics of each tree.
Instagram.com/wetheurban
Art installation by Klaus Pinter
Maggie Casey
Staircase
STRING, MONOFILAMENT, STAPLES
14’ x 2.5’ x 12’
2004 & 2006
Staircase was first installed in an abandoned racquetball court on South Broad Street in Philadelphia. Later, it was recreated for Tower Investments Gallery. Photo: Jeffrey Stockbridge
Also this work by the artist, Michel Blazy:
https://www.fastcompany.com/1670677/an-installation-that-fills-a-monastery-with-nothing-but-foam
Aerial by Baptiste Debombourg
Stream Impression
Project 1 - Imprint
In the search for a concept and material to work with for this project, I came to the realisation that one of the towns where I grew up was close to a friend I had planned to visit. I decide to indulge in nostalgia and revisit the bushland on the outskirts of the town where I used to play as a kid. I remembered a landmark in the park, Whale Rock, and I wanted to visit this old friend.
On the walk, I began to notice the natural materials in the landscape: charcoal from a burnt tree; sandstone I used to make paint from as a child; leaves arranged in the shade of a fallen branch, drying in a gradient; mud in a puddle, drying in the shape of boot prints; and finally, natural deposits of sunset orange clay.
This clay tied in to my ideas from the materials studio, about mark-making and imprinting on the world around us.
As humans, we leave many different kinds of marks as we move through the world, on our environment, on objects, and on each other. I wanted to highlight these marks in my work, and the clay provided the perfect material for this study. It is at once of the earth and removed from it, and it will hold an impression pressed into its surface.
For my sculptures, my concept is to create an impression of Whale Rock, a bushland where I used to play as a child, so that I can share this experience and capture the memory. This impression is both physical and ethereal. The smell of the clay will evoke memories in each person of their own natural spaces. Each of the sculptures is an impression of a different aspect of the site, of Whale Rock itself, of the towering gum trees around the rock, of the stream constantly audible throughout the bushland. The last sculpture is an impression of myself; as I walked through the bush and performed the other sculptural impressions, I held a piece of the material in one hand and let the heat and pressure from my hand work on the material.
Project 1 - Collected Tutorial Notes
Avoid metaphors
- Too poetic
- We want more literal, acts, material and what’s happening
Clay – hero material
Specific memory – first time climbing whale rock, with friends, and sliding down the side
Why that area? Homecoming, memories tied to whale rock
Disobedience
- Removing the clay from the site
- Climbing the rock
- Graffiti of the material and of the rock
- Trespassing
Draw material from memory
Value:
- Importance
- Money
- Time
- Emotion (nostalgia, happiness)
- Memory
- Material
- Use
- Trade
- Cultural
- Historic, geographic, economic
- Self-importance
- Societal importance
- Uniqueness
- Name
- Order
Start to build a concept
Material as a vessel
Concept is built into process
Start vague
Explanation as work
Concepts: We all have concepts built into us
Playing with material – let material lead us
What does leading us mean? We let the material do what it wants to do.
Discovery – celebrate it, do iterations of it
Turn away from the wax and into a concept
Louis Kahn: “You say to a brick, ‘What do you want, brick?’ And brick says to you, ‘I like an arch.’ And you say to brick, ‘Look, I want one too, but arches are expensive and I can use a concrete lintel.’ And then you say, ‘What do you think of that, brick?’ Brick says: ‘I like an arch.’”
Obvious things: Melting, leads to mixing.
Add time into project
Colour – pigment, food
What are concepts?
Ties what you’re doing together. Can it be obvious? Abstract? Is there fiction? Is it confusing because it’s about you?
An idea
The infinitude of ideas
How do we come up with one idea?
Let material lead you to idea
Pre-emptively come up with idea
Alchemy, magic, abstraction
Or know the process
Concepts:
History
Time
Record
Imprint
Wanting to leave an impact
Footprints in the sand
Shouting into the void
How history shapes us
How future shapes us
How what we were shapes what we become
How who we are shapes what we become
How what we could be shapes what we become
How to break free of time
How to break free of history
How to alter the future
How everything leaves a mark/imprint
How to showcase/highlight that imprint/impact
How to show time in a frozen moment
I’m interested in the marks we leave, in how what we do shapes the world around us. The interactions between people, or objects, or places, all leave imprints on the things involved. Footsteps in the sand, a memory in the mind, fingerprints on glass. This mark-making happens unconsciously all the time, all around us. I want to highlight the ways we effect the world around us. We all want to make a difference, or be known, but not many people stop to think about all the small ways we impact the world around us, and how these marks build up over time. I want to show people that the tiniest of actions can leave a lasting impression, whether it be positive or negative.
My concept is mark-making, is imprinting, is recording
My concept is the idea of the marks we make
My concept is making people consider the marks they leave
What people?
What marks?
Make it more specific
Make it personal
“You all have a little bit of ‘I want to save the world’ in you. That’s why you’re here, in college. I want you to know that it’s okay if you only save one person, and it’s okay if that person is you.” – Professor Proctor, tiavision.tumblr
Me, wanting to make a difference
Us, at uni, learning how to make a better world
Individual stories, one goal: to be heard
This studio – working with the materials, changing the materials, recording the results
Struggling with how to relate this back to the materials. Is this an art studio? Are we using the materials to make art?
Andy Goldsworthy
Pigment
With the remaining melted wax, I decided to try to dye the wax with different pigments. I started with gel food colouring and coloured waxes, putting a small amount of each into ice cube trays. Then I poured the wax over the top. In doing so, the wax formed a film over the colder pigments, separating the materials and preventing them from mixing. In order to encourage more interaction between the materials, I took the set cube out of the tray and placed it on a piece of paper on a hot plate. By remelting the materials at the same temperature, I gave the wax a chance to mix with the materials.
The coloured waxes behaved differently to each other. I think the purple wax had something added to it in order to make it more shiny, so it remained mostly separate from the beeswax. The blue wax melted into the beeswax more freely, creating some mixing of the colours.
The food dye did a very interesting thing; when heated with the wax, it began to bubble and disappear without really adding any colour to the wax. Curious, I left one of the cubes on the heat for much longer than the others, to see if I could make the colouring dissapear completely, which resulted in a slightly burnt colour to the wax.
Paint
The melted beeswax, infused with soot, reminded me of a pigmented paint. So I decided to see what painting with wax would be like. I usea a water bath to re-melt the beeswax and keep the wax hot, and began painting the wax onto a canvas frame. The wax cooled very quickly on the canvas, and didn’t go on as smoothly as I expected. The wax bubbled and created streaks instead of solid strokes. As I began to layer stroke on top of stroke, the new wax retained more heat, and as the brush deposited more wax it also altered the wax already there. The end result has a lot of depth, with some bubbles still going down to the canvas and the top surface has a brushed texture.