Marianne Markvad’s architectural collages examines urban space mixing different images to reflect her own reality. The artworks question and reveal about the life we lead and the spaces we live in. To create her artworks Markvad visits the suburbs and cities of Denmark and abroad. Using photographs she records “moments” in places and situations that fascinate her. These photographs are the foundation material of her collages.
The seductive Utopian views constructed in Martyr’s work conjure a timeless sense of elegance and nostalgia, as Martyr marries together found images with remembered places. We find that these familiar settings become soft-focus templates for the mnemonic, at once heightening and embellishing reality. The artist promises us clear skies as flawless as beauty adverts. Martyr’s painting technique is extraordinarily precise. His uncompromising process is hand painted and involves many stages to create flawless canvases.
Martyr’s skilled observation of line and shadow brings depth to the paintings, emphasizing the horizontal with simple symmetrical planes. Inspired by post-war Americana/Pop Art, Modernism, Italian Futurist and Russian 1930’s Posters, his paintings are reminiscent of holiday postcards. Titles such as ‘Stay Until Tomorrow’, ‘Where We Belong’ and ‘It’s Only Us’ advertise themes of an almost unattainable vitality and effortless chic.
This series portrays changes that take place in everyday life, like the sun rising or ice cream melting. These ordinary events were photographed at regular intervals, printed on transparent film and assembled in sequence. Capturing the accumulation of time as a sculpture allows the viewer to experience the ephemerality of time.
We are all subject to the passing of time, yet each of us feels and perceives it in our own way. Time itself has no shape or boundary and cannot be fixed or grasped. When we look at the photographs in these sculptures, we attempt to fill in the gaps between the individual images. We draw from our physical experiences to fill in missing time and space, both ephemeral and vague. In this series, I attempt to depict time and space as sensations shared by both viewer and artist.
Heidi Annalise is the Colorado-based artist behind these 2×3-inch tiny oil painting, joyfully created on site amidst mosquitos, blistering heat, and frigid winds! Each painting captures a unique moment in time, and is painted on a wooden panel using a “mint tin palette”.
The quest for something new, distinctive forms and compositions, found in our exterior environments are the themes that are consistently sought after as the major contributors to my work. The main emphasis showcases the mundane within the landscape, for example, the poetry that happens in the sweeping utility lines along the backdrop of a morning or evening sky with the pinnacles of structures, treetops, telephone poles, and how each interacts with one another within the composition. Taking something so utilitarian for example, like that of a telephone pole with all of its components, on average would be, and usually are, looked upon as something that is less than visually desirable, yet when presented in a unique way this provides one with the tools needed to visually tune into not only their personal environments but also that of the world — therefore, giving viewers the capabilities to find beauty in the simplest of things.
The following quote by Henry Miller speaks volumes when it comes to embodying the personal philosophy as to what drives me to be an image maker; “What the painter sees he is duty-bound to share. Usually, he makes us see and feel what ordinarily we ignore or are immune to. His manner of approaching the world tells us, in effect, that nothing is hideous, nothing is stale, flat and unpalatable unless it be our own power of vision.”
Abandoned architecture has fascinated Matt Lambros since he was a kid and his grandmother used to take him to investigate any old barn she happened to drive past. She was curious about what was left behind, and her inquisitive nature made a lasting impression on Lambros.
Lambros grew up in Dutchess County, New York, and like most places there were quite a few supposedly “haunted” buildings begging for a closer look. Hudson River State Hospital, one of the first places he went to on his own, was one of them. It was then that his interest in abandoned buildings evolved into a vehicle for artistic expression.
Lambros spent ten years composing photographic obituaries for once-thriving buildings that are now crumbled and forgotten. HIs hope for his work is that it will shine light on beautiful, dated architecture and on the equal yet sinister beauty in decay. “After The Final Curtain” is a photographic documentation of the effects of years of neglect and decay in some of America’s greatest theaters.
A blog curated by Roberto Cruz Niemiec with the best of Architecture, Design and Art.