Little over a minute long. Artist Documentation of the Digital Sculpture for British Airways Heathrow Terminal 5. Curated by Artwise Curators. Trokia is the firm that made the sculpture.
Project Indigo (working title): Design of a vertical seaside metropolis
"In december 2007 I sketched around a single theme for a while as a personal side project. I tried to envision what a huge -vertical- seaside city would look like in a world where dry land is very precious. This city would be situated on a huge pillar in a 'cavity' in the sea; possibly an inactive volcano crater of some sorts. I assumed a level of technology of western European countries around the seventeenth century. Naturally I had to take some huge liberties with the actual mechanical possibilities of these constraints to make a city in a hole in the sea work, not to mention a vertical city.
As far as technique was concerned, I was not interested in creating pretty pictures, but I wanted to present a more or less solid approach to the theme described above."
Yesterday I came across a slightly mysterious website - a collection of Polaroids, one per day, from March 31, 1979 through October 25, 1997. There's no author listed, no contact info, and no other indication as to where these came from. So, naturally, I started looking through the photos. I was stunned by what I found.
In 1979 the photos start casually, with pictures of friends, picnics, dinners, and so on. Here's an example from April 23, 1979 (I believe the photographer of the series is the man in the left foreground in this picture):
Highlighting works from its permanent collection by one of Mexico's greatest photographers, the Wittliff Gallery of Southwestern & Mexican Photography is honored to present Ojos para volar / Eyes to Fly With: Photographs by Graciela Iturbide, in concert with publication of the ninth volume in its award-winning book series, Iturbide's Eyes to Fly With: Portraits, Self-Portraits, and Other Photographs. Ojos para volar / Eyes to Fly With runs October 21, 2006 through March 18, 2007, at the Wittliff Gallery, on the seventh floor of the Alkek Library at Texas State University-San Marcos. For more information and directions go to the Wittliff Gallery of Southwestern & Mexican Photography.
Jesse van Dijk (32) is a concept artist from Amsterdam, the Netherlands. He currently works at Guerrilla Games as a senior concept artist. He graduated at the Delft University of Technology with a Master's degree in Industrial Design Engineering in 2003. After his studies he worked for several studios prior to joining Guerrilla in 2009.
The artist was born in Bremen Germany on December 24, 1952. Freelance artist since 1980. Several artshows of his work in and outside his homecountry.
Siegfried Zademack's surrealistic visionary paintings make recipients and reviewers wonder. The arrangement of his pictorial thoughts immensely exceeds a realistic reproduction. His pictures allow us to slip in metaphysical dimensions, between humorous irony and the unfathomable deepness of our souls.
The semantic sources of this art are equally past and present. The quotation from art history stands alongside the Coca-Cola bottle. His true teachers were the masters of the earl and late Italien Renaissance up to the Mannerists. The syntax of his work is completely determined by that of the ciassical masters. What is astonishing is that, in adoptingit for his own pictorial inventions, he employs such perfect techniquie - though this is indispensable, in view his objectives. His figural inventions are clearly sculptured, but his iconology presumes considerable knowledge of art history and politic.
In some of his pictorial quotes, we detect the difference to the Surrealist approach: it is the historical angle, which was yet possible and this is the present-day aspect - in manneristic periods. Descartes had seen this without making an issue of it: mundus est fabula, the world is a grand fable, a never-ending story in which we are forever entangled.
lf we live from, stories, there are no sharp borderlihes between periods, for history is then the present, and anything we do now is already the future. This is the link between Boltraffio's Madonna and the American Way of Life, which makes no distinction betweeh the classics and Coca Cola.
Yumiko Kayukawa was born in the small town of Naie in Hokkaido, Japan. The panoramic beauty of her surroundings and feelings of communication with the native animals inspired her to paint the things around her. As a teenager she also fell in love "with the energy and giddiness" of American pop-culture through her exposure to rock n' roll, film, and fashion. By the age of 16, she had debuted into the art world with a comic-book (Manga) feature.
After graduating from Art school, she continued to paint, but struggled with truly expressing herself in her art. Fortunately, this frustration took a dramatic turn during a visit to Seattle where Yumi painted a picture at the request of an American friend. In comic-book style, two girls sit entwined atop a mushroom, Japanese symbols and American pop art styles melding together in lively color and bold lines. Yumi now realized her art persona - sagacious Japanese tradition in synergy with the jubilant irreverence of American pop culture.
What does she see for her future as an artist? "I'd rather my paintings hang next to rock star pin-ups than on museum walls. Ultimately I want to connect with people all over the world on that level", she says with a smile. When we look at her work, it's obviously just a matter of time.
"In 1994, a few years after graduating from Edinburgh Art College with a degree in Drawing and Painting, I left Scotland for a new adventure in Hong Kong.
I was struck by the sheer intensity of colours and design-style of all things Chinese, be that packaging, religious symbols, signs, labels or type.
For three years, I received commissions from Hong Kong's major magazines and advertisers, but was frustrated by the limitations of the style I had created. My dream was realised when I won a place to study for a Masters at London's Royal College of Art.
It was here that I discovered I could combine my drawing skills with the digital medium. This provided me with the tools I needed to realise my graphic visions.
Gaining confidence in my new-found style, I returned to my Asian flavoured 'paintings' with gusto, this time bringing on board more elaborate and obscure sources, inspired by toys, communist-era propaganda, the Fifties, the Forties, sweets and packaging.
In 2005, I returned to Asia for inspiration. This time moving to the romantic and inspirational former French Concession in Shanghai for a year-long sourcing adventure.
I have now returned to my childhood roots of living by the sea, and now live in the beautiful English seaside city of Brighton."
