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Landscape Revisited
The ability for people to go into space has opened many doors in terms of exploration and knowledge of the universe, yet it has also given us a chance to look at our Earth from a different perspective.
Col. Chris Hadfield is a Canadian astronaut, currently onboard the International Space Station, who takes pictures of the Earth while on his mission in space. It is a new style of landscape photography. Previously, our only options in terms of ‘landscape’ photography were to take a picture of the Earth, on Earth, or capture the vast expanse of space via astrophotography.
Now, we can take into account the scale of the Earth; how massive desserts are, how tiny cities are. We can see both natural beauty and industrial devastation. His images are reflections of the various societies in this world, and its history. Like all great photographs, they tell stories, either about lost civilizations, daily routines or environmental changes.
Though not everyone can just get into a spaceship and take pictures all day, what Col. Chris Hadfield is doing, is opening doors for future artists, scientists, and explorers, to see the different ways in which we can capture our surroundings, through photography.
(Source: artandsciencejournal.com)
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Amy Schissel
Ottawa area artist Amy Schissel recently showed her piece Cyberfields (2012) from her series “Systems Fever” at the Volta Art Fair in New York City illustrating another sense of connection from the advancements of science and technology to (landscape) art.
Her work featured here consists of fine lines meant to mirror the seemingly invisible connections from person to person on the digital landscape, otherwise known as an Internet Map, as visualized by The Dimes Project. By exploring the question of the digital landscape in her mixed media art, Schissel seems to beg the question of where we exist (geographically, at least) when using our tech (smart phones, twitter, texting, facebook, etc.). Are the messages we send invisible, a means of communication, or do they signify something more? Are the places we send our digital messages or notes from/to representative of us—what can our digital landscapes tell us about ourselves and this brave new world we live in? So much can be understood from the connections we make every day, even those we cannot physically see.
By turning the visualization of the Internet Map into a art form of physical, tactile painting, Schissel has already, like the lines on the map, forged a connection from the digital to the traditional.
Photo Friday with Chris McCaw’s Sunburn
The beauty of Chris McCaw’s photo series, Sunburn, was born out of a mistake. During a camping trip, the artist tried to capture an all night exposure of the starry sky. As a result of drinking too much whiskey, McCaw failed to wake up before sunrise to close the shutter, and the image was burned, reversing the tones of the landscape. It was a failure in that he did not capture the image he hoped for, but it turned into a much more significant perspective: one that changed his outlook on photography.
He explains this on his website: “The intense light of the rising sun was so focused and powerful that it physically changed the film, creating a new way for me to think about photography.”
Since his first, accidental, burnt photograph in 2003, McCaw has spent years trying different methods and timings to make this series. His favourite results can be found in a photobook titled Sunburn released last year
For more of McCaw’s work, please visit his website.
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Jason Gowans
In his project 5 Landscape Modes, Vancouver-based photographic artist Jason Gowans studies the structural implications of photographed landscapes. Exploring simultaneously the second and third dimensions, Gowans carefully deconstructs a images and rearranges them to create new landscapes with a restored depth. The result is a series of photographs that offer thoughtful alternatives to the conventional landscape practice. Gowans expands on his process:
“This show was created from physical objects. I built maquettes using found negatives, my own photographs, and images from the Internet. I photographed them to create several angles, exposures, shadows
I took many cues from Robert Smithson’s Non-Sites, Michael Snow’s La Région Centrale, and western movie sets.”
See more of Gowans’ work at his website here.
- Erin Saunders
(Source: artandsciencejournal.com)
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Maya Lin
Maya Lin creates both art and architecture, and this is event in all of her works. Her works are inspired by landscapes and our natural environment. As her website states,
“She peers curiously at the landscape through a twenty-first century lens, merging rational and technological order with notions of beauty and the transcendental. Utilizing technological methods to study and visualize the natural world, Ms. Lin takes micro and macro views of the earth, sonar resonance scans, aerial and satellite mapping devices and translates that information into sculptures, drawings and environmental installations. Her works address how we relate and respond to the environment, and presents new ways of looking at the world around us.”
For more of Lin’s work, click here.
(Source: artandsciencejournal.com)
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Kaley Dickinson
In her works, Kaley Dickinson focuses on the connections between forms. As she states, “My art is about establishing a balance between the outer world and oneself. I work from a lot of patterns in nature and the human body including space, water, cells, nerves, rock formations, and aerial landscapes. My goal is to reveal a universal connection amongst all things.”
Dickinson starts the art process with found images and then works organically. As she describes, “My creative process is largely intuitive and flows much like a conversation with a series of actions and reactions.” Lately, the artist has been using an ancient Japanese mono-printing technique called suminagashi. Suminagashi is a meditative process that incorporates an element of chance and produces mesmerizing organic patterns. To see more of her work, click here.
(Source: artandsciencejournal.com)
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Daniel Ehrenworth
Daniel Ehrenworth’s Sky / Water is a contemporary, conceptual interpretation of a common practice in early photography. After cameras became more widely accessible in the mid 19th century, accurate captures of landscape views were frustratingly elusive, as lengthy exposure times meant that some details were lost in the development process. Limitations in the collodion process meant that landscape photographs often ended up showing an empty white sky and a large dark mass in the foreground; details and gradations had to yield to these slow exposure times and collodion’s poor receptivity to certain colours. Photographers like the French Gustave Le Gray solved this problem by taking two separate negatives – one that captured the detail of the sky and another that isolated the details of the sea or land – and physically cutting and pasting the two properly-rendered parts to make a composite. In this way, the technical and chemical limitations of photography were answered by manipulation in the darkroom.
Erhenworth builds on this practice with composite photographs that actually show inconsistencies in depth and perspective – the very problems these earlier photographers were trying to avoid. The result is a set of photos of actual places combined to form imaginary, impossible ones.
See more Daniel Erhenworth here, and read more about early composite photography here.
(Source: artandsciencejournal.com)
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