hands, fingers and mountains
By Natasha Rijkhoff
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@natasharijkhoff
hands, fingers and mountains
By Natasha Rijkhoff
moving mirrors\
http://www.jeppehein.net/pages/fullscreen.php?name=Rotating%20Mirror%20Object%20III&path=img_works&id=189&index=0
cloud cities
http://www.tomassaraceno.com
submitted by sunshineeayala
posts match
figures and mountains
Prélude by Sougwen Chung
sougwen.com
2012
https://vimeo.com/43455127 Étude Op. 3, No.2 of 4 form studies ————————————
Prélude is the second video in Optogenesis (Étude Op. 3), a series of sculptural light installations. The title is inspired by the concept of Optogenetics, the emerging field of neuroscience concerning itself with the triggering of memory with light, and genesis, the coming into being from a point of origin.
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In Prélude, light is projected onto an angular form, following an abstract narrative. Beginning with an initial beam of light, ( order; a central and clear point of origin), shifting into multiple beams in space ( disruption), transforming into an organic current ( direction; forming identity /movement), and resolving in shattering prisms ( dissolution; ecstatic form).
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The sculptural piece on which the light is projected is formed from one flat rectangular plane. The folds of the plane function as its memory; its structure is formed by the direction and design of these impressions.
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The form is revealed by illumination, taking on shifting visual characteristics depending its the point in the narrative. The interplay of material and immaterial creates distortions within the geometry of the piece, evoking a surprising dimensionality. The projected piece is a visual metaphor for memory an evolving and dynamic process, made up of many distortions.
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music: Tim Hecker - The Work Of Art In The Age Of Cultural Overproduction
http://sougwen.tumblr.com/post/72572157154/prelude-by-sougwen
Mountains amaze and delight us, inspiring the human mind to peaks of excitement and curiosity. It seems strange to think that our appetite for the heights is something invented by modern culture. The awe and grandeur of mountain scenery is surely a universal instinct. But historians hold that it is not. Before the 18th century Europeans dreaded mountains. They were seen as ugly raw wildernesses of stone, murderous enemies of cultivated life.
http://www.theguardian.com/artanddesign/jonathanjonesblog/2011/feb/08/mountains-leonardo-giambologna-art
Andrew Kim - Experiments on Methods: Smoke, 2012
http://www.saatchionline.com/art/Photography-Luminescence-61/167024/1274608/view
Christian Herdeg - Boundless I, 1975, acrylic glass cube, 68 x 68 x 68 cm, dualtone argon lighttube
Images taken on the street and in my direct environment, all concern light and reflection
Inspirational images, ideas and feelings. Different shade of white, blue, free, black and grey. Mountains and reflections interpreted in different ways. Light and darkness, cold melancholia.
Seeking and searching in a glance. Usage of white, water, reflection, mist, mountains, cold yet not icy.
mixing and combining, making two images become one and then mean something else. This is melancholic yet hopeful. A spark, cold and small, but real.
MEGATREND
Seeking and searching
In a world where Internet rules, nobody is real anymore. Anyone can create their own identity. What is left to hold on to when all the information we gather is questionable. In the modern world God is but a fictional figure, a story everyone has heard but only few believe. Yet there is a search for the spiritual, especially now with darker times where materialism is questioned, and other ways for fulfilling needs must be found. There is a wish for something to hold on to. Not a god, but an inner strength or spiritualism to turn to. To seek divinity in the small things, and empower oneself through them.
The materials, and textures that will be used to express these feelings are mainly glass, mirrors, transparent plastics and hints of copper. The use of these will enhance the idea of light, strength and illusion. These are all cold materials, so the use of copper, even in small measure, will act as a counterbalance.
Reflection is used as a way of making the normal, abnormal and also for creating repetition and structure.
In the way of fabrics the most important aspect is layering. Fine netting and see through fabric will be combined with stronger textiles. The layers point to the search, not everything is found on the surface. Also they point to mountains, which are powerful and indestructible, while the netting and sheer see though fabrics give the idea of fine mist that covers and conceals.
Another crucial aspect of the trend is illumination. Inspired by Dan Flavin, lamps and lights manifest the presence of a spiritual being. Light is stronger than darkness, and drives away fear and doubt. Light goes beyond the boundaries of its caster and spreads optimism and confidence. Light burns away mist and dances and shimmers on water. Yet it must not be too bright. It is as yet only a hopeful sparks, interwoven with notes of melancholy and reluctance. All the same, it is there, and drawing closer like the light at the end of a tunnel.
The colour pallet varies from different shades of white like mist or rain, to diluted green and bluish tones that are found in foggy landscapes. The colours have hints of grey and milky white, which give them a cold feeling. Silvery shades like frozen water come to life on smooth, reflecting surfaces. Subtle tones of copper add warmth and contrast and take the edge off the chill.
Architecture, interiors and designs make much use of the contrast of light and darkness. Shadows and mirrors create extraordinary playgrounds out of simple areas. Space is used to its fullest extent by making use of lights and reflections. Moods are created by coloured light and reflection off glass and water. Transparent objects and double images distort areas, while the illumination plays tricks with sight.
The search for the divine is a journey. The quest to find meaning again in the void where there was only money or outer beauty. It is only at its start, but it will blossom. Now, there is a melancholy and searching mood. It is calm and assuring, an individualistic search that gives a sense of purpose and fulfilment.
Minimalism in words
Minimalism is the product of many influences, but it is mainly interpreted as a reaction against the Abstract Expressionism. Abstract expressionism was all about the artist, about how the artist felt and how the artist saw the world. Minimalism is the opposite of that idea. Minimalist artists took a step back from their work and let the viewer do the thinking and the feeling. Their art had no hidden layers, no deeper meaning. It was what it was and that was exactly the point. The Minimalist artists did all they could to keep the work as impersonal as possible, they did not want to show their own handwriting, but an artwork, just as it was. “What you see it what you see “, is one of the most direct ways to explain Minimalism.
Although Minimalist work may seem plain and passive, they are the opposite of that. Minimalistic pieces are actually closely related to performance art, with the viewer cast as the performer. As far as the artists were concerned their art was only truly art when there were viewers in the room. Minimal art is all about the experience, about how you, as viewer, see the art and what you take from it. It is very consciously that many Minimalistic artists didn’t give their work proper names but just called it a version of “untitled”. The artists want to leave the viewer unbiased by their own ideas, but leave the viewers mind open for interpretation.
Minimalism started in the early 60’s, only a short while after the Second World War. It also had a great deal to do with the new consumer attitude of the 60’s. Like the Pop-Artists, Minimalists used industrial fabrication and manufacturing materials in their work, but left the images behind. The world in the 1960’s was a world of industrials, and Minimalists show that mass-produced beauty.
The concept of Minimalism is the stripping down of all elements; using only the fundamental features, and eliminating the rest. Minimalist works are often three-dimensional, and bare no resemblance to any real objects. The works are made with simplified, geometric forms and of industrial materials. The artists challenged the traditional notions of craftsmanship, and by traditionalists are often called bare and lacking in depth. Minimalism focuses on the fundamentals, not hidden by secondary elements.
George Papadimas Pt.II
Like the original Minimalist artist this Australian artist doesn't give his work titles, so as to leave the viewers mind open for interpretation. Also the works are non figurative and almost conceptual.
At the heart of each work, mathematical premise reigns. One fully embodies the harmonic relationship between line and form, and the other does its best to conceal.
So although in many ways these works are very close to the "real" Minimalism of the 60's, they lack one thing: originality. This has already been done. Could this work be considered the current Minimalism, or is it a copy. Shouldn't the current Minimalism have a touch of originality too, isn't that a key element of an interesting art movement?
http://minimalissimo.com/2013/11/george-papadimas-pt-2/
Simplicity is often equated with minimalism. Yet true simplicity is so much more than just the absence of clutter or the removal of decoration. It’s about offering up the right things, in the right place, right when you need them. It’s about bringing order to complexity. And it’s about making something that always seems to “just work.” When you pick something up for the first time and already know how to do the things you want to do, that’s simplicity.
http://www.apple.com/ios/design/
Maybe apple is not Minimalistic in the sense that I mean it, but it is an interesting way of comparing Minimalism, with minimal and simplicity