imagine being dip-dyed in a pool of colour.
- the above were taken in Taupo, New Zealand by Stevie Peerenboom
- taken at the Krafla Volcano, Iceland by Mark Lukoyanichev
- taken at Mammoth Hot Springs, Yellowstone National Park by Robby Edwards
- taken in Askja, Iceland by John Freeman
- taken in Yellowstone National Park by Sandra Kreuzinger
- taken at the Dallol Hot Springs, Ethiopia by PhotoVolcanica
i’ve been holding out on listening to the new Bon Iver album because i’ve been hearing so much about it online and fear a bit of a build up / let down situation. the same thing happens when i constantly hear about an amazing film, then usually end up only seeing it a year later when all the fuss has died down. i’m sure that the album is amazing and i have nothing to worry about… but, you know, it technically only drops on 21 june. sooo. let’s talk about it then shall we?
unsurprisingly i immediately fell in love with the cover art of both the album and the lead single Calgary, which was created by artist Gregory Euclide (who had been personally commissioned by frontman Justin Vernon). Meighan has a great interview with Gregory over at My Love For You which i urge you to read if you want to know more about his process. it’s also incredibly awesome to see an artist who so readily shares his work & process online – you can explore all his work over at his flickr, and watch his videos documenting the making of his pieces on youtube.
Mylar Sedum and Geranium trees, found foam, new foam, what was, memory, taken over by and altered by the new.
Pine Cone Lichen, Sedum trees, built up and buried, found foam, La Grange.
Mylar sky, absence, streetlight pole trees.
Decayed photo transfer, the haze of summer, the life of birds.
Torn paper, Isolation, Defense, the nest of something
i spotted australian artist jonathan zawada‘s striking neon landscapes on one of those sites like fffound / tumblr where people don’t bother to include any information, so after a bit of digging around i found his official website and more information about his latest exhibition over time at the prism gallery in LA (which unfortunately just ended a couple of weeks ago, perhaps you managed to catch it if you live in the area code?)
The exhibition focuses on large-scale landscape paintings whose topographies are derived from graph data. Zawada collected and compared a variety of data series that extrapolate information over time, such as “Marijuana usage among year 12 students vs. CD and Vinyl record sales between 1975 and 2000” or “Value of land per square meter in Second Life vs. Value of land per square foot in Dubai between 2007 and 2009.” The data is then manipulated through a 3D fractal program and the resulting environment becomes a virtual abstraction that mimics a mountainous landscape. Painted on canvas, the landscapes are a response to the “virtual” reality of digital experiences that are highlighted by the intrinsic flatness and surreal color palate.
the (oil) paintings are incredible on their own – but the concept behind each piece makes them doubly awesome. his colour palettes are quite literally out of this world. one of each, please.
a gallery wall dedicated entirely to mountains seems like a good plan.
yes, please & thank you!
camille beinhorn / steve brown / kevin lindridge / fernando nogari / jamen lee
