I started documenting Central Park back in 2007 as way of coping with severe insomnia. I would commonly take long walks at night, and the park always seemed to be calling me in. I set out to document the park at its most vacant, isolating, and at times, haunting moments. The park appears to go through a period of metamorphosis during those late night/early morning hours, and I was determined to capture it.
The Paris-Sorbonne University is a French university specialized in letters, arts and human sciences in Paris, France. Ludwig Favrewished to bring to light the amphitheaters of the Sorbonne for a quiet absolute moment, when no students were present in these places.
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.
This series is shot in Paris suburbs by Rémy Soubanère, far from glamorous parties. Nothing is staged here, but sun never comes up…
It came from a strange undercurrent in the air in Paris these days. Sometimes it feels like reality progressed far beyond the future predicted in old dystopian movies. To pay homage to that, the name “Alphaville” is token from Jean-Luc Godard’s Noir-film classic Alphaville (1965).
Hamiltons presents Salt: Vanity, an exhibition of the most recent work by Australian photographer Murray Fredericks. The Vanity series is a continuation of Fredericks’ renowned Salt series, in this next cycle of the project, Fredericks introduces a mirror into the previously undisturbed landscape. Australian photographer Murray Fredericks’ long relationship with Lake Eyre, where his most recent series Vanity has been produced, commenced in 2003, and to date consists of twenty journeys to the centre of the lake where he photographs for weeks at a time in the vast and infinite landscape.
With the mirror being the symbol of narcissism, and vanity its driving force, Fredericks considered that the mirror be used not to reflect ‘ourselves’ and petty obsessions, but to draw the gaze outwards to the immediate environment and the cosmos; poignant given our position as humans in our current social context. Consistent with his earlier Salt pictures, the images from the Vanity series allow us access to Fredericks’ sublime experience. Through their infinite variations of colour and light, the pictures award the viewer the freedom and meditative space Murray finds essential for our release from our own vanity.
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.
A blog curated by Roberto Cruz Niemiec with the best of Architecture, Design and Art.