Archives for posts with tag: Art

A Brief Concept.

The concept behind this work it to create a 3-4 minutes stop motion video relating to my interest in the natural fractals throughout world, its process and our relationship to them. To depict my concept I will have a wide range of images, from the dispersion of natural dyes in water to fractals from the natural world. Every image will blend and flow with the last.  Also each image will be one of a series of its own, so when hopefully leaving a seamless blend between all images. As the work is going to be a video I wish to play music to accompany and accentuate the work, this should mean that after editing the final video should be around 3.30 / 4 minutes long.

Displaying Work

I would like to see how the video would look projected on a large scale, as this would be a new method of presenting for me. However as there is accompanying music and this is a group exhibition projecting may not be plausible due to needing a set of speakers for the music. I could always present similarly to before on a screen of some kind and a set of headphones, however finding a more suitable screen than previous exhibitions may also not be plausible.

There is one other method of presenting I am currently researching, but would immediately be a drain on resources. Using the phenomenon of video feedback If you link a camera to a TV and then direct the camera at the TV, you get an infinite regression of images. However, you can use the same feedback phenomenon with multiple displays to make a natural forming fractal. By displaying multiple smaller copies of what the camera sees, photographing that cluster of copies, and then repeating the process, you essentially create the self-similar structure seen in fractals. By moving and rotating the camera and projectors, you can create a very wide variety of fractal images. 
This method of presenting would be perfect in theory, however the use of multiple projectors may not be possible, along with not being able to try it out before hand firstly to see if I understand and can get it working. Secondly, to see the aesthetics when projected in this way and if it would enhance and contribute to the work.

Here is a video of the final method of presenting working.

UPDATE: Unable to obtain the relevant equipment i will displaying a HD version of the video upon a Mac screen with headphones. This will allow the viewer to be engulfed fully by the visuals and accompanying soundtrack completely.


Perhaps best known in the west for In the Hollow of a wave off the coast of Kanagawa (left), also called The great wave, from Thirty-Six Views of Mt. Fuji, in the 1830s and 40s the Japanese artist Hokusai made wonderful woodblock prints that present fractal aspects of nature with a sophistication rarely matched even today..  He did not have any mathematical training; he left no followers because his way of painting or drawing was too special to him.  But it was quite clear by looking at how Hokusai, the eye, which had been trained from the fractals, that Hokusai understood fractal structure.  And again, had this balance of big, small, and intermediate details, and you come close to these marvelous drawings, you find that he understood perfectly fractality.  But he never expressed it.


The Great Wave off Kanagawa

The Great Wave off Kanagawa 


 The below link is to a brilliant  publication regarding The Great Wave painting.

Related articles

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

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”