G-Nie Arambulos Boysen print ad campaign ‘Flowers’ won a Bronze Lion at the 2009 Cannes International Advertising Festival. This was the second ever Cannes Lion award won by the Philippines and first ever in the print category. Arambulo explained in an interview that every individual part of the photographs (each petal, each color, each stem) was shot individually with actual splatters of Boysen Paint, high-powered, high-speed flash, a Hasselblad camera, and a Phase One Digital back. These images were then merged together to form the final images. This method of working I suspect will be a similar to the methods I will use, shooting all the images separately and later digitally merging them together.   The project required “perfect timing, along with the right combination of lights, equipment, skill, and perseverance.” From a distance these images may look like other  macro photographs of flowers, only upon closer inspection is it clear they are incredibly more than that. These flowers were not from Mother Nature but, rather, man-made through and through…

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The layering method adopted by Arambulos s, creating what is effectively a montage of images is what i have taken most from the works. This technique has led me to thinking of using a different style of editing for my video, previously i made a single frame containing all the content and then ran each frame next to one another…. However now i believe a more pleasing aesthetic can be achieved by running a multitude of frames layered upon each other simultaneously. In doing so id ‘should’ have more control of the animation of each still image within each frame.


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A native of Southern California, Ren Adams has been working in the visual arts for more than 20 years, with an emphasis on painting and printmaking. Adams work combines a reverence for traditional art making with an insatiable desire to explore and document the interconnection of all things.

Adams work for me is both a form of moving meditation and an analysis of the patterns of nature, investigating concepts of balance, harmony, enlightenment, consciousness, and time, while celebrating the ordinary as extraordinary. Through “li,” or “vigorous strength,” lines and forms are expressive, conveying a sense of immediacy that unites philosophy, history, nature and mysticism.  Current projects combine printmaking with traditional Chinese brush painting, Eastern philosophy, science and nature. I’ve found Adams work to be inspirational in both concept and content in regards to my own work.


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Land art is a form of art, which involves using physical landscapes to create art, forcing people to view the art in context, and taking the provenance of art out of the museum and into the outside world. People have been creating works of art with landscapes for centuries, but the modern land art movement really got going in the 1960s, when American artists began creating land works on a large scale. Today, works of modern land art can be seen all over the world, sometimes right alongside much older pieces of land art created by people who lived thousands of years ago.

This type of art is sometimes referred to as Earth art or Earthworks, and it can take a number of forms. For example, the Spiral Jetty, a famous piece of land art created in 1970 in the Great Salt Lake, is made with a collection of stones, salt, and mud. Reshaping the landscape is a common feature of land art, as in the case of artworks, which are created by carving into the landscape and moving components around. People can also add things to the environment to create land art, ranging from imported stones to structures made with regionally available material. It is also possible to landscape installations with the use of plants. In all cases land artwork is immovable, but not necessarily unchangeable.

In fact, one of the major distinctions between this type of art and most of the art one sees in the museum is that land art is designed to evolve, change, and eventually decay. Some works of art are quite ephemeral, persisting only for a few hours or days, while others are deliberately exposed to erosion and wind so that they become distorted over time. The evolution of the Earthwork is part of the appeal for myself.

Although technically and maybe even conceptually land art appears irrelevant to my own project, I have found lightly researching into the area and some important land artworks has sparked creativity in the process of creating the content to the natural elements sequences in my video.  Here are a few of my favorite examples of Land art.

Spiral Jetty – Robert Smithson

Land Art

Sun Wheel – Richard Shilling

land art 2


Fall – Walter Mason

land art 4


Cracked Rock Spiral – Andy Goldsworthy

 Land art 3]

 The Above Video  Rivers and Tides 2003 is a 90 minute documentary regarding And Goldsworthy and his works

“The beauty and variety of nature, and the answers to some of life’s questions can be found very close to hand.” (Burge 2011)

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Burge said she accidently found her ink and water art form after developing a repetitive strain injury that forced her to stop painting, Burge’s initial artistic outlet. As for what inspires her unique work it is obvious to me we need look no further than the natural world.

Burge uses natural processes to produce images that reflect natural phenomena. When working with ink in water, heat, evaporation, chemical reaction, turbulence etc. are used to build up her intricate and otherworldly images. The resulting pictures therefore reflect natural processes, which we see around us. Burge’s work has representations of fractals and other concepts, which are present within my own work, including the Fibonacci sequence.

To create the works, Burge takes over two hundred images and carefully picks the perfect ink creations at just the right stage. This is a method of image selection that I already had I’m mind for my own video. Shoot large sequences of images containing the dispersion of the ink in the water, later editing and removing any parts of the sequences that are undesired.

Now an artist in residence at exeter University, she’s investigating “artistic flow visualisation,” collaborating with scientists who specialize in fluid dynamics, and using equipment in the lab to create these images. I find this really interesting I will no doubt have further research into the artistic flow visualization, as the visualization of flow and depiction of fluidity is a subject matter I find myself constantly drawn to.

Maruyama’s career in photography began in his native Japan. Born in Nagano, in 1968, Maruyama recorded images of this wondrous mountain region. Later he joined Hakuhodo Photo Creative, an advertising company, where he honed his skills. In 2001, Maruyama published two books, The Spiti Valley and Spiti, both dedicated to documenting life in Tibet. This direction shifted his creative interests from the material to the spiritual, fueled by his ability to harness new technological developments.

Maruyama has been involved in many worldwide advertising campaigns, utilizing his expertise in ice, liquid/splash, and specializing in movement in his works. Years of lighting research and the advancement of retouching have made it easier to have a strong idea of exactly how a photo will look even before the shoot begins. However in photographing liquid and subjects in movement, it is impossible to foresee what the end result will be, and it is this spontaneity that enables Murayama to have more fun creating his work. Specializing in splashing and energetic movements within shots, Shinichi Maruyama’s work is subconsciously influenced by a Japanese sense of beauty. For me Murayama’s work resembles an almost modern day sumi-e artwork.

The works, which are so impressive, are reliant on leading technologies capable of capturing this phenomenon at a 7,500th of a second. Maruyama takes full advantage of a recent advancement in strobe light technology, which can record physical events faster than the naked eye can perceive them.

Above all, Maruyama’s photographs are about taking risks, risks in using the ink and water, risks with photographic techniques, and risks with a new approach to art. It is encouraging to see that taking risks can be a beautiful thing. Murayama’s work was a direct influence upon me wanting to develop the techniques I had been experimenting with, pushing myself to ambitiously create a stop motion video, the techniques in which I have no experience.

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Eshel Ben Jacob, a professor of physics at Tel Aviv University, beautified photos of bacteria growing in Petri dishes with a bit of color and shading to create an amazing collection. They illustrate the coping strategies that bacteria have learned to employ, strategies that involve cooperation through communication. The bacteria in their struggle to defeat our best antibiotics use these selfsame strategies. Thus, if we understand the mechanisms behind the patterns, we can learn how to outsmart the bacteria – for example, by tampering with their communication – in our ongoing battle for our health.
In a sense, the strikingly beautiful organization of the pattern reflects the underlying social intelligence of the bacteria. The once controversial idea that bacteria cooperate to solve challenges has become commonplace, with the discovery of specific channels of communication between the cells and specific mechanisms facilitating the exchange of genetic information. Retrospectively, these capabilities should not have been seen as so surprising, as bacteria set the stage for all life on Earth and indeed invented most of the processes of biology. As we try to stay ahead of the disease-causing varieties of these versatile creatures, we must use our own intelligence to understand them. These images remind us never to underestimate our opponent. They are also perfect examples of naturally occurring fractals.




Alberto Seves0  is an illustrator and graphic designer from Italy. In his latest series A Dui Colori, Alberto photographs plumes of ink underwater. The textures, detail and organic shapes are absolutely incredible. Alberto Seveso   creates these mesmerizing underwater landscapes, rich in detail and color by taking high-speed photographs of ink mixing with water. The fluidity of the ink creates a the visual deception of a material that is virtually unrecognizable, almost suggestive of billowing fabric. Ribbons of color swirl and unfurl in stunning, kinetic formations that call to mind coral and other flora and fauna upon the ocean floor. Alberto Seveso underwater ink photographs exhibit vibrantly saturated color and texture… romantic yet otherworldly, upon viewing the images I have a deep desire to touch it.

For me however the talent and creativity Alberto Seveso in making something as simple as ink in water look so captivating. Each photo, in his latest series, captures duos of vibrant pigments, entwining in the most breathtaking and sensual way. It is this aspect of the work that I feel will take influence most upon my own, regardless of the similarity of techniques and methods. Although Seveso’s images are dramatic and impressive, the overall aesthetics aren’t right for my own work. The images are high in texture and detail giving the images an almost sculptural aesthetic,  however I envisage my own works to be far simpler with the focus within my ink images drawn away from texture and details, however with more emphasis upon shape and colour.

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This series of the dispersion of ink in water when shown in exhibition were printed in massive scales. The impact of which must have been genuinely dominating. Although many of his works are indeed poorly lit, out of focus; some even contain scratches and blemishes I still find them completely intriguing. On the other hand, he has a keen compositional eye, often making visual patterns out of everyday objects that most people would overlook. Tillmans provides few signposts in aid to reading his images, and establishing links between them and unlike the great photographers and artists, he has no individual, recognizable style. Tillmans for me is an experimenter, a dabbler, and a trait I am coming to see within myself. Considering this I feel we should consider Tillmans less a photographer as such, yet more an artist working through the medium of photography, which may help explain his disregard for conventional photographic norms. His work is not so much based on content or the photograph as a referent, as the way in which a motif is depicted. He experiments with the possibilities of representing the world through the photographic image. For me  the images themselves are beautiful and one of the original inspirations into my experimentations with ink.

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With no horizon line to anchor the picture or the viewer, they have no ‘up’ or ‘down’ creating a strange sensation of disorientation and abstraction. Stieglitz said “I have a vision of life and I try to find equivalent for it sometimes in the form of photographs” he later said “equivalent of my most profound life experience drawing on the symbolist notion of synthesis the possibility of suggesting one thing by meaning of another”.

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He made his series of Equivalents as a response to a critic who believed that he had some kind of hypnotic power over his subjects, and claimed therein lay his photographic talents. Affronted, he set about to prove unequivocally that he could take good pictures of other things, things that couldn’t be hypnotized by his lens. He turned his camera upwards and looked to the sky, to the clouds.

Stieglitz wrote that “I have a vision of life and I try to find equivalents for it.” In good times and bad, he photographed clouds to express his emotional states. He felt that his cloud photographs had the power to transport viewers into the same emotional state he was in when he made the photograph. This is definitely an influence upon my work as I stated in my proposal the desire to communicate the emotional ideals and evolvement with the concept, similarly to Stieglitz.

The patterns of the clouds provide a feeling of passive relaxation and serenity, even though there is a great amount of contrast in shades from light to dark. In his “Equivalent” from 1930, the clouds give the viewer the impression of relaxing flames that are rising from the bottom left corner and are reaching toward the right. They tend to balance the photograph, in that since the cloud formations are angled; there isn’t a portion of the picture that seems too heavy. The photograph, in fact, seems balanced because this creates movement within it. This also frames the photograph on the right, although there are no actual objects there. The movement is what gives the illusion of a frame on the right. The clouds in the photograph are also in sharp focus, as the viewer can see every detail in the sky.

Although Stieglitz has used a differing source of natural forming shapes the main principal behind the desired visual outcome is incredibly similar. It was this work of Stieglitz that drove me to my experimentation with other sources of natural forming shapes, in which I will be shooting smoke under studio conditions.

Ansell Adams once said regarding the equivalents series:

“One can hear great music in the environment of nature with almost religious devotion”


Leonardo da Vinci was a man of multiple dimensions of talents. Not only was he a painter but he also had impeccable skills as a sculptor, an architect, musician, scientist, mathematician, engineer, inventor, anatomist, geologist, cartographer, botanist and writer. His unquenchable curiosity was equaled only by his powers of invention. He is widely considered to be one of the greatest painters of all time and perhaps the most diversely talented person ever to have lived, to which I would personally have to agree.

Main areas of his studies that have taken influence within this works are:

Studies in Flight

Leonardo made “the flight of birds” the basis for his mechanical approach and he studied the function of the wing, the air resistance, the winds and the currents. Leonardo also studied air-resistance, currents, winds and the laws of equilibrium. This intricate and detailed study into the flight of birds has been a reoccurring influence visibly noticeably within the majority of my previous work.

    English: Design for a flying machine Codex Atl...

Studies in the Rules of Proportion

The building blocks of basic geometry underlay the beauty of natural form. Leonardo provided ingenious illustrations for the treatise that his mathematician friend, Luca Pacioli, wrote on the five regular or ‘Platonic’ solids and their variants. He also strove on his own behalf to solve a series of classic problems in flat and three-dimensional geometry. Divine geometry in nature was most apparent in the action of light. Here, all the powers of nature act mathematically and obey the rules of proportion.

Proportion was also expressed in number, most notably in the harmonies of music. Proportional formulas allowed Leonardo to work complex variations on weights suspended from balances and to show why the quest for a perpetual motion machine was doomed to fail.

Anatomical study of the arm, (c. 1510)


Studies in Motion

Leonardo’s vision of the natural world was extraordinarily dynamic. Force was the key to the vision. The application of force was necessary for anything to move. Motion gave life to all things but also exercised a huge destructive potential.

The human body was at the center of his vision. Bodily movements expressed the ‘motions of the mind’. These motions were essential for the painting of convincing narratives. Leonardo’s ‘cinematographic’ images of little figures in action portray the continuity of motion in space in a way that no one had captured previously. As an engineer Leonardo’s supreme ambition was to amplify human motion so that man-powered flight might become possible. The key, as always, lay in nature, above all in the study of flying creatures and their anatomy.


Rearing horse


Studies in the Body and Earth.

The theory of the microcosm and the macrocosm was ancient. It stated that the human body contained in miniature all the operations of the world and universe as a whole. Leonardo wrote of analogies between rocks and bones, soil and flesh, rivers and blood vessels. He spoke of the ‘body of the world’, ‘veins of water’ and the ‘tree’ of blood vessels.

This analogy served as a tool of explanation. He explained that the old are enfeebled because of the tortuous and silted up nature of their blood vessels. He investigated the nature of water in motion and its behavior in the ‘body’ of the earth.

Heart and its Blood Vessels

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