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Landscape Photomontage
Photographing landscapes should not be limited to a simple point and click. There are many different capturing and editing techniques that artists, such as Matt Wisniewski, Keira Gruttner, and Fong Qi Wei, use in order to capture their surroundings through their unique perspectives and digital tools.
Matt Wisniewski is a collage artist based in New York who takes fashion photographs and manipulates them to fit into a specific geological element or landscape photograph. His “Landscape” Series turns mountain ranges into heads atop human shoulders, or trees on a hillside into cascading hair. His other series’ “Mineral Minds” and “My Home is the Sea” combine minerals and stones, and crashing waves (respectfully) with the models, acting as either extensions of their anatomy or wardrobe. His work is both landscape and portrait photography in one.
Keira Gruttner also uses collage to combine elements of landscape, but unlike Matt Wisniewski, Gruttner specifically focuses on nature. The artist states that her upbringing on the East Coast of Canada inspired her to create her collages. Her work is more tactile than other digital collages, as she first prints her landscapes and then carefully selects elements from each and assembles the pieces together, like a puzzle. She often repeats the process again through scanning the first collage, to then print and prepare for the final collage.
The work of Fong Qi Wei, “Time is a Dimension”, is also puzzle-like, connecting different time-periods of the day with urban skylines to show the daily changes in our atmosphere. In one picture, we are able to see both morning and evening, as if the two were always ongoing at the same time. The artist’s work plays with time and dimension, where the photograph is not only capturing one moment in time, but many times in, what is presented as, one moment. 
Each of these artists plays with our perceptions in terms of how we remember our surroundings and especially our relationship with the landscapes around us. Their works are refreshing examples of the new techniques in landscape photography.
-Anna Paluch
Landscape Photomontage
Photographing landscapes should not be limited to a simple point and click. There are many different capturing and editing techniques that artists, such as Matt Wisniewski, Keira Gruttner, and Fong Qi Wei, use in order to capture their surroundings through their unique perspectives and digital tools.
Matt Wisniewski is a collage artist based in New York who takes fashion photographs and manipulates them to fit into a specific geological element or landscape photograph. His “Landscape” Series turns mountain ranges into heads atop human shoulders, or trees on a hillside into cascading hair. His other series’ “Mineral Minds” and “My Home is the Sea” combine minerals and stones, and crashing waves (respectfully) with the models, acting as either extensions of their anatomy or wardrobe. His work is both landscape and portrait photography in one.
Keira Gruttner also uses collage to combine elements of landscape, but unlike Matt Wisniewski, Gruttner specifically focuses on nature. The artist states that her upbringing on the East Coast of Canada inspired her to create her collages. Her work is more tactile than other digital collages, as she first prints her landscapes and then carefully selects elements from each and assembles the pieces together, like a puzzle. She often repeats the process again through scanning the first collage, to then print and prepare for the final collage.
The work of Fong Qi Wei, “Time is a Dimension”, is also puzzle-like, connecting different time-periods of the day with urban skylines to show the daily changes in our atmosphere. In one picture, we are able to see both morning and evening, as if the two were always ongoing at the same time. The artist’s work plays with time and dimension, where the photograph is not only capturing one moment in time, but many times in, what is presented as, one moment. 
Each of these artists plays with our perceptions in terms of how we remember our surroundings and especially our relationship with the landscapes around us. Their works are refreshing examples of the new techniques in landscape photography.
-Anna Paluch
Landscape Photomontage
Photographing landscapes should not be limited to a simple point and click. There are many different capturing and editing techniques that artists, such as Matt Wisniewski, Keira Gruttner, and Fong Qi Wei, use in order to capture their surroundings through their unique perspectives and digital tools.
Matt Wisniewski is a collage artist based in New York who takes fashion photographs and manipulates them to fit into a specific geological element or landscape photograph. His “Landscape” Series turns mountain ranges into heads atop human shoulders, or trees on a hillside into cascading hair. His other series’ “Mineral Minds” and “My Home is the Sea” combine minerals and stones, and crashing waves (respectfully) with the models, acting as either extensions of their anatomy or wardrobe. His work is both landscape and portrait photography in one.
Keira Gruttner also uses collage to combine elements of landscape, but unlike Matt Wisniewski, Gruttner specifically focuses on nature. The artist states that her upbringing on the East Coast of Canada inspired her to create her collages. Her work is more tactile than other digital collages, as she first prints her landscapes and then carefully selects elements from each and assembles the pieces together, like a puzzle. She often repeats the process again through scanning the first collage, to then print and prepare for the final collage.
The work of Fong Qi Wei, “Time is a Dimension”, is also puzzle-like, connecting different time-periods of the day with urban skylines to show the daily changes in our atmosphere. In one picture, we are able to see both morning and evening, as if the two were always ongoing at the same time. The artist’s work plays with time and dimension, where the photograph is not only capturing one moment in time, but many times in, what is presented as, one moment. 
Each of these artists plays with our perceptions in terms of how we remember our surroundings and especially our relationship with the landscapes around us. Their works are refreshing examples of the new techniques in landscape photography.
-Anna Paluch
Landscape Photomontage
Photographing landscapes should not be limited to a simple point and click. There are many different capturing and editing techniques that artists, such as Matt Wisniewski, Keira Gruttner, and Fong Qi Wei, use in order to capture their surroundings through their unique perspectives and digital tools.
Matt Wisniewski is a collage artist based in New York who takes fashion photographs and manipulates them to fit into a specific geological element or landscape photograph. His “Landscape” Series turns mountain ranges into heads atop human shoulders, or trees on a hillside into cascading hair. His other series’ “Mineral Minds” and “My Home is the Sea” combine minerals and stones, and crashing waves (respectfully) with the models, acting as either extensions of their anatomy or wardrobe. His work is both landscape and portrait photography in one.
Keira Gruttner also uses collage to combine elements of landscape, but unlike Matt Wisniewski, Gruttner specifically focuses on nature. The artist states that her upbringing on the East Coast of Canada inspired her to create her collages. Her work is more tactile than other digital collages, as she first prints her landscapes and then carefully selects elements from each and assembles the pieces together, like a puzzle. She often repeats the process again through scanning the first collage, to then print and prepare for the final collage.
The work of Fong Qi Wei, “Time is a Dimension”, is also puzzle-like, connecting different time-periods of the day with urban skylines to show the daily changes in our atmosphere. In one picture, we are able to see both morning and evening, as if the two were always ongoing at the same time. The artist’s work plays with time and dimension, where the photograph is not only capturing one moment in time, but many times in, what is presented as, one moment. 
Each of these artists plays with our perceptions in terms of how we remember our surroundings and especially our relationship with the landscapes around us. Their works are refreshing examples of the new techniques in landscape photography.
-Anna Paluch

Landscape Photomontage


Photographing landscapes should not be limited to a simple point and click. There are many different capturing and editing techniques that artists, such as Matt Wisniewski, Keira Gruttner, and Fong Qi Wei, use in order to capture their surroundings through their unique perspectives and digital tools.

Matt Wisniewski is a collage artist based in New York who takes fashion photographs and manipulates them to fit into a specific geological element or landscape photograph. His “Landscape” Series turns mountain ranges into heads atop human shoulders, or trees on a hillside into cascading hair. His other series’ “Mineral Minds” and “My Home is the Sea” combine minerals and stones, and crashing waves (respectfully) with the models, acting as either extensions of their anatomy or wardrobe. His work is both landscape and portrait photography in one.

Keira Gruttner also uses collage to combine elements of landscape, but unlike Matt Wisniewski, Gruttner specifically focuses on nature. The artist states that her upbringing on the East Coast of Canada inspired her to create her collages. Her work is more tactile than other digital collages, as she first prints her landscapes and then carefully selects elements from each and assembles the pieces together, like a puzzle. She often repeats the process again through scanning the first collage, to then print and prepare for the final collage.

The work of Fong Qi Wei, “Time is a Dimension”, is also puzzle-like, connecting different time-periods of the day with urban skylines to show the daily changes in our atmosphere. In one picture, we are able to see both morning and evening, as if the two were always ongoing at the same time. The artist’s work plays with time and dimension, where the photograph is not only capturing one moment in time, but many times in, what is presented as, one moment. 

Each of these artists plays with our perceptions in terms of how we remember our surroundings and especially our relationship with the landscapes around us. Their works are refreshing examples of the new techniques in landscape photography.

-Anna Paluch

(Source: artandsciencejournal.com)

4 Photos
/ anna paluch keira gruttner fong qi wei matt wisniewski photography digital photography collage nature landscape art science anatomy art and science journal photomontage
A Sweet 3-D Printing Project!
Bees are fascinating little creatures, having the capacity to build intricate structures. Marketing agencies, Sid Lee and The Ebeling Group decided to harness the bees building skills by manipulating the shape in which the they build their hives, creating organic sculptures for their client Dewar’s. 
The results include bottles and busts made purely from honeycomb; not chiseled or stuck together, but formed naturally by the bees themselves. With 3-D printing gaining popularity, it is wonderful to see natural examples of 3-D printing. The artists and bee keepers involved in the 3-D project are also able to study the process the bees go through to build their hives, as the outer shell is made of see-through plastic. 
Everything was taken into consideration to make the 80,000 bees as comfortable as possible; the base and see-through shell were designed to mimic the enclosed space of a normal bee hive. The bees were even helped in building their new hives, given ‘blueprints’ in order to collect pollen and nectarThis is a great example of thinking ‘outside the box’, and marketing done right!
There is a video of the process available here.
If you would like to read about other artists who work with bees to create natural honeycomb sculptures, check out Tomás Libertíny and Aganetha Dyck.
-Anna Paluch
A Sweet 3-D Printing Project!
Bees are fascinating little creatures, having the capacity to build intricate structures. Marketing agencies, Sid Lee and The Ebeling Group decided to harness the bees building skills by manipulating the shape in which the they build their hives, creating organic sculptures for their client Dewar’s. 
The results include bottles and busts made purely from honeycomb; not chiseled or stuck together, but formed naturally by the bees themselves. With 3-D printing gaining popularity, it is wonderful to see natural examples of 3-D printing. The artists and bee keepers involved in the 3-D project are also able to study the process the bees go through to build their hives, as the outer shell is made of see-through plastic. 
Everything was taken into consideration to make the 80,000 bees as comfortable as possible; the base and see-through shell were designed to mimic the enclosed space of a normal bee hive. The bees were even helped in building their new hives, given ‘blueprints’ in order to collect pollen and nectarThis is a great example of thinking ‘outside the box’, and marketing done right!
There is a video of the process available here.
If you would like to read about other artists who work with bees to create natural honeycomb sculptures, check out Tomás Libertíny and Aganetha Dyck.
-Anna Paluch

A Sweet 3-D Printing Project!

Bees are fascinating little creatures, having the capacity to build intricate structures. Marketing agencies, Sid Lee and The Ebeling Group decided to harness the bees building skills by manipulating the shape in which the they build their hives, creating organic sculptures for their client Dewar’s. 

The results include bottles and busts made purely from honeycomb; not chiseled or stuck together, but formed naturally by the bees themselves. With 3-D printing gaining popularity, it is wonderful to see natural examples of 3-D printing. The artists and bee keepers involved in the 3-D project are also able to study the process the bees go through to build their hives, as the outer shell is made of see-through plastic. 

Everything was taken into consideration to make the 80,000 bees as comfortable as possible; the base and see-through shell were designed to mimic the enclosed space of a normal bee hive. The bees were even helped in building their new hives, given ‘blueprints’ in order to collect pollen and nectar

This is a great example of thinking ‘outside the box’, and marketing done right!

There is a video of the process available here.

If you would like to read about other artists who work with bees to create natural honeycomb sculptures, check out Tomás Libertíny and Aganetha Dyck.

-Anna Paluch

(Source: artandsciencejournal.com)

2 Photos
/ bees honey 3D Printing nature engineering biology marketing Tomas libertiny aganetha dyck anna paluch art science art and science journal advertising
Reimagined Ecosystems
Coral reefs come in many shapes, sizes and colours. Not only are they important to the oceans, but to the environment as a whole. Acting as the ‘rainforests of the sea’, coral reefs are home to a large array of diverse animals and plants, as well as being natural breakwaters which help to minimize the impact and damage from natural disasters such as cyclones. Coral reefs are not only beautiful, they are essentially life-sustaining, providing shelter for animals, which then feed people living near the reefs.
Artists that look to reefs for inspiration in their work include Courtney Mattison and Jane Ladan. 
In Mattison’s show Our Changing Seas III, the artist creates large scale ceramic coral reef sculptures, some white and some coloured, in order to show the effects that global warming has on the reefs. The vibrant reefs begin to be swallowed up by the bleached, dying reefs. The artist hopes that her work can influence others to act fast to protect the reefs while there is still time to save the living ones, and hopefully restore the bleached reefs to their once vibrant and life-sustaining selves. 
Jane Ladan works with the colours of these reefs to create her wearable art. The Mauritius-born artist, who is based in Ottawa, creates works that celebrate the rich colours and textures that are found in nature. She also uses Mauritius’ unique cultural blend, with influences coming from countries such as China and India, and its environment, mixing exotic flowers with undersea foliage, to help shape how she expresses herself creatively.
Where Mattison creates work to encourage preservation, Ladan creates work with a similar theme, in the sense that the beauty of her pieces should be seen as a reminder of the beauty of all natural things; in order to keep appreciating this beauty, we must do our part to help preserve it. 
-Anna Paluch
Reimagined Ecosystems
Coral reefs come in many shapes, sizes and colours. Not only are they important to the oceans, but to the environment as a whole. Acting as the ‘rainforests of the sea’, coral reefs are home to a large array of diverse animals and plants, as well as being natural breakwaters which help to minimize the impact and damage from natural disasters such as cyclones. Coral reefs are not only beautiful, they are essentially life-sustaining, providing shelter for animals, which then feed people living near the reefs.
Artists that look to reefs for inspiration in their work include Courtney Mattison and Jane Ladan. 
In Mattison’s show Our Changing Seas III, the artist creates large scale ceramic coral reef sculptures, some white and some coloured, in order to show the effects that global warming has on the reefs. The vibrant reefs begin to be swallowed up by the bleached, dying reefs. The artist hopes that her work can influence others to act fast to protect the reefs while there is still time to save the living ones, and hopefully restore the bleached reefs to their once vibrant and life-sustaining selves. 
Jane Ladan works with the colours of these reefs to create her wearable art. The Mauritius-born artist, who is based in Ottawa, creates works that celebrate the rich colours and textures that are found in nature. She also uses Mauritius’ unique cultural blend, with influences coming from countries such as China and India, and its environment, mixing exotic flowers with undersea foliage, to help shape how she expresses herself creatively.
Where Mattison creates work to encourage preservation, Ladan creates work with a similar theme, in the sense that the beauty of her pieces should be seen as a reminder of the beauty of all natural things; in order to keep appreciating this beauty, we must do our part to help preserve it. 
-Anna Paluch

Reimagined Ecosystems

Coral reefs come in many shapes, sizes and colours. Not only are they important to the oceans, but to the environment as a whole. Acting as the ‘rainforests of the sea’, coral reefs are home to a large array of diverse animals and plants, as well as being natural breakwaters which help to minimize the impact and damage from natural disasters such as cyclones. Coral reefs are not only beautiful, they are essentially life-sustaining, providing shelter for animals, which then feed people living near the reefs.

Artists that look to reefs for inspiration in their work include Courtney Mattison and Jane Ladan.

In Mattison’s show Our Changing Seas III, the artist creates large scale ceramic coral reef sculptures, some white and some coloured, in order to show the effects that global warming has on the reefs. The vibrant reefs begin to be swallowed up by the bleached, dying reefs. The artist hopes that her work can influence others to act fast to protect the reefs while there is still time to save the living ones, and hopefully restore the bleached reefs to their once vibrant and life-sustaining selves.

Jane Ladan works with the colours of these reefs to create her wearable art. The Mauritius-born artist, who is based in Ottawa, creates works that celebrate the rich colours and textures that are found in nature. She also uses Mauritius’ unique cultural blend, with influences coming from countries such as China and India, and its environment, mixing exotic flowers with undersea foliage, to help shape how she expresses herself creatively.

Where Mattison creates work to encourage preservation, Ladan creates work with a similar theme, in the sense that the beauty of her pieces should be seen as a reminder of the beauty of all natural things; in order to keep appreciating this beauty, we must do our part to help preserve it.

-Anna Paluch

(Source: artandsciencejournal.com)

2 Photos
/ jane ladan courtney mattison anna paluch coral reefs oceans nature art science art and science journal sculpture reefs sea seas ocean ecosystem Environment fashion conservation
Telling (Nature’s) Stories Through Fabric
The works by textile artist Mister Finch resemble classical illustrations of flora and fauna come to life. There is also an element of fantasy; fabric spiders having a tea party, bees the size of a human head, or over-sized fungi. The artist takes images from nature, and in the cases of some of his moths and fungi, categorizes the pieces as if they were specimens found in the wild.
Mister Finch’s inspiration mainly comes from British folklore and the natural world around him. What makes this artist unique, other than the work itself, is that the majority of the materials used are found or recycled. To the artist, it is a way of sewing in the story of the reinvented material with the final story of the finished pieces.
Storytelling, fabric arts and nature come together to create works that bring to life fantasy worlds one would only find in storybooks. Anatomically correct flora and fauna, and woodland creatures similar to the ones found in storybook illustrations are consistent in his work, truly bringing the fantasy world to life in a tangible form. The appeal of his work is nostalgic; not only does the artist use found materials with their own stories, but builds with these materials onto existing stories that can be paired with those from our childhoods, while also bringing to life scientific illustrations of particular species of moths and plants.
If you would like to see more of Mister Finch’s work, he has many high-resolution photographs on his tumblr, as well as a store where you can purchase some of his pieces.
-Anna Paluch
Telling (Nature’s) Stories Through Fabric
The works by textile artist Mister Finch resemble classical illustrations of flora and fauna come to life. There is also an element of fantasy; fabric spiders having a tea party, bees the size of a human head, or over-sized fungi. The artist takes images from nature, and in the cases of some of his moths and fungi, categorizes the pieces as if they were specimens found in the wild.
Mister Finch’s inspiration mainly comes from British folklore and the natural world around him. What makes this artist unique, other than the work itself, is that the majority of the materials used are found or recycled. To the artist, it is a way of sewing in the story of the reinvented material with the final story of the finished pieces.
Storytelling, fabric arts and nature come together to create works that bring to life fantasy worlds one would only find in storybooks. Anatomically correct flora and fauna, and woodland creatures similar to the ones found in storybook illustrations are consistent in his work, truly bringing the fantasy world to life in a tangible form. The appeal of his work is nostalgic; not only does the artist use found materials with their own stories, but builds with these materials onto existing stories that can be paired with those from our childhoods, while also bringing to life scientific illustrations of particular species of moths and plants.
If you would like to see more of Mister Finch’s work, he has many high-resolution photographs on his tumblr, as well as a store where you can purchase some of his pieces.
-Anna Paluch
Telling (Nature’s) Stories Through Fabric
The works by textile artist Mister Finch resemble classical illustrations of flora and fauna come to life. There is also an element of fantasy; fabric spiders having a tea party, bees the size of a human head, or over-sized fungi. The artist takes images from nature, and in the cases of some of his moths and fungi, categorizes the pieces as if they were specimens found in the wild.
Mister Finch’s inspiration mainly comes from British folklore and the natural world around him. What makes this artist unique, other than the work itself, is that the majority of the materials used are found or recycled. To the artist, it is a way of sewing in the story of the reinvented material with the final story of the finished pieces.
Storytelling, fabric arts and nature come together to create works that bring to life fantasy worlds one would only find in storybooks. Anatomically correct flora and fauna, and woodland creatures similar to the ones found in storybook illustrations are consistent in his work, truly bringing the fantasy world to life in a tangible form. The appeal of his work is nostalgic; not only does the artist use found materials with their own stories, but builds with these materials onto existing stories that can be paired with those from our childhoods, while also bringing to life scientific illustrations of particular species of moths and plants.
If you would like to see more of Mister Finch’s work, he has many high-resolution photographs on his tumblr, as well as a store where you can purchase some of his pieces.
-Anna Paluch

Telling (Nature’s) Stories Through Fabric

The works by textile artist Mister Finch resemble classical illustrations of flora and fauna come to life. There is also an element of fantasy; fabric spiders having a tea party, bees the size of a human head, or over-sized fungi. The artist takes images from nature, and in the cases of some of his moths and fungi, categorizes the pieces as if they were specimens found in the wild.

Mister Finch’s inspiration mainly comes from British folklore and the natural world around him. What makes this artist unique, other than the work itself, is that the majority of the materials used are found or recycled. To the artist, it is a way of sewing in the story of the reinvented material with the final story of the finished pieces.

Storytelling, fabric arts and nature come together to create works that bring to life fantasy worlds one would only find in storybooks. Anatomically correct flora and fauna, and woodland creatures similar to the ones found in storybook illustrations are consistent in his work, truly bringing the fantasy world to life in a tangible form. The appeal of his work is nostalgic; not only does the artist use found materials with their own stories, but builds with these materials onto existing stories that can be paired with those from our childhoods, while also bringing to life scientific illustrations of particular species of moths and plants.

If you would like to see more of Mister Finch’s work, he has many high-resolution photographs on his tumblr, as well as a store where you can purchase some of his pieces.

-Anna Paluch

(Source: artandsciencejournal.com)

3 Photos
/ mister finch anna paluch fabric art nature flora fauna mushrooms fungi stories textile material
The Natural Canvas
British artist Andy Goldsworthy does not just make sculptures about nature, but makes them from natural elements that he finds. Materials commonly found in his work include leaves, rocks and even twigs, his installation space; everywhere. It can be argued that by creating these pieces, the artist turns the planet into his own canvas or installation space, as the works directly respond to their surroundings.
His natural manipulations draw upon the energy and life that is flowing through the landscape, paying homage to not only nature as an already existing piece of art, but that of a living one too. Each piece is site-specific to the landscape, transforming into the modernist ideal; conveying an experience of the real world while acknowledging the immediate physical reality of the materials. For Goldsworthy, it is not about showing the reality of man made materials like a canvas and paint brush, but the harmony of working with natural materials, that have always been readily available for our inspirations.
-Anna Paluch
The Natural Canvas
British artist Andy Goldsworthy does not just make sculptures about nature, but makes them from natural elements that he finds. Materials commonly found in his work include leaves, rocks and even twigs, his installation space; everywhere. It can be argued that by creating these pieces, the artist turns the planet into his own canvas or installation space, as the works directly respond to their surroundings.
His natural manipulations draw upon the energy and life that is flowing through the landscape, paying homage to not only nature as an already existing piece of art, but that of a living one too. Each piece is site-specific to the landscape, transforming into the modernist ideal; conveying an experience of the real world while acknowledging the immediate physical reality of the materials. For Goldsworthy, it is not about showing the reality of man made materials like a canvas and paint brush, but the harmony of working with natural materials, that have always been readily available for our inspirations.
-Anna Paluch
The Natural Canvas
British artist Andy Goldsworthy does not just make sculptures about nature, but makes them from natural elements that he finds. Materials commonly found in his work include leaves, rocks and even twigs, his installation space; everywhere. It can be argued that by creating these pieces, the artist turns the planet into his own canvas or installation space, as the works directly respond to their surroundings.
His natural manipulations draw upon the energy and life that is flowing through the landscape, paying homage to not only nature as an already existing piece of art, but that of a living one too. Each piece is site-specific to the landscape, transforming into the modernist ideal; conveying an experience of the real world while acknowledging the immediate physical reality of the materials. For Goldsworthy, it is not about showing the reality of man made materials like a canvas and paint brush, but the harmony of working with natural materials, that have always been readily available for our inspirations.
-Anna Paluch

The Natural Canvas

British artist Andy Goldsworthy does not just make sculptures about nature, but makes them from natural elements that he finds. Materials commonly found in his work include leaves, rocks and even twigs, his installation space; everywhere. It can be argued that by creating these pieces, the artist turns the planet into his own canvas or installation space, as the works directly respond to their surroundings.

His natural manipulations draw upon the energy and life that is flowing through the landscape, paying homage to not only nature as an already existing piece of art, but that of a living one too. Each piece is site-specific to the landscape, transforming into the modernist ideal; conveying an experience of the real world while acknowledging the immediate physical reality of the materials. For Goldsworthy, it is not about showing the reality of man made materials like a canvas and paint brush, but the harmony of working with natural materials, that have always been readily available for our inspirations.

-Anna Paluch

(Source: artandsciencejournal.com)

3 Photos
/ andy goldsworthy landscape art art science art and science journal installation art nature anna paluch
Fashion and Nature: Louise Richardson
Art and fashion can often go hand in hand, but what about art, fashion and nature? Artist Louise Richardson creates pieces that take viewers on a whimsical journey of fantasy, mixing natural found objects and transforming them into garments, which in turn resemble ethereal artworks.
The artist is versatile in many mediums, making shoes, clothes, butterflies, books, fiber art, and paper works to create a dream-like world with her art. The delicate pieces have the ability to transform the viewer back to a child-like imagination, the artist herself acting as a storyteller. The use of natural elements such as dandelions, hair, and shed snake skin can be seen as reminders of the aesthetic qualities of the natural world.
-Anna Paluch
Fashion and Nature: Louise Richardson
Art and fashion can often go hand in hand, but what about art, fashion and nature? Artist Louise Richardson creates pieces that take viewers on a whimsical journey of fantasy, mixing natural found objects and transforming them into garments, which in turn resemble ethereal artworks.
The artist is versatile in many mediums, making shoes, clothes, butterflies, books, fiber art, and paper works to create a dream-like world with her art. The delicate pieces have the ability to transform the viewer back to a child-like imagination, the artist herself acting as a storyteller. The use of natural elements such as dandelions, hair, and shed snake skin can be seen as reminders of the aesthetic qualities of the natural world.
-Anna Paluch

Fashion and Nature: Louise Richardson

Art and fashion can often go hand in hand, but what about art, fashion and nature? Artist Louise Richardson creates pieces that take viewers on a whimsical journey of fantasy, mixing natural found objects and transforming them into garments, which in turn resemble ethereal artworks.

The artist is versatile in many mediums, making shoes, clothes, butterflies, books, fiber art, and paper works to create a dream-like world with her art. The delicate pieces have the ability to transform the viewer back to a child-like imagination, the artist herself acting as a storyteller. The use of natural elements such as dandelions, hair, and shed snake skin can be seen as reminders of the aesthetic qualities of the natural world.

-Anna Paluch

(Source: artandsciencejournal.com)

2 Photos
/ louise richardson anna paluch nature flora fauna fashion art science art and science journal
Wildlife: Queer Zoology
Humboldt Magnussen invites us into “Wildlife: Queer Zoology” by asking that we don animal masks he has painstakingly silkscreened. Caribou, Penguin, Walrus, and Giraffe – the masks suggest we adopt new animal identities for the opening evening, adorn ourselves with new costumes that challenge the boundaries of nature and culture.
The show questions the rhetoric of queer sexuality’s natural- (or unnatural-)ness. Responding to right-wing-evangelical claims that queer sexualities and non-gender-conforming identities are unnatural, Magnussen’s exhibition features the work of seven artists who challenge this notion.
Alexis Boyle’s coil of rope snakes refers to recent research finding that male snakes which emit both male and female hormones are seen the most desirable mates, attracting frenzied attention resulting in a tangled “mating ball.” This finding suggests that long-held ideas about sexuality among animals are perhaps more politically convenient than accurate. Boyle’s work reexamines queerness in both animal and human worlds by emphasizing the degree to which the gender binary is constructed by social norms, rather than hard science.Gustavo Cerquera Benjumea’s tongue-in-cheek sculpture plays the part of a good-luck charm (a dried llama fetus), designed to protect Videofag from homophobia and transphobia. A certificate of authenticity purportedly from the Bolivian and Columbian embassies accompanies it on the wall. Benjumea’s sculpture provides a complex mixing ground for preconceptions about both culture and sexuality, and hints at the magical, rather than strictly scientific, role of the animal.Danielle Nicole Smith’s high-femme bejeweled works look at the parallel spaces of domesticity and domestication, pairing an image of a kitten captioned “Lady Love,” aside a sparkly text collage spelling out her girlfriend’s affectionate nickname. Meanwhile, Corinne Teed’s labourious drawing and collage works represent ambiguous human and animal sexual behaviours. In Negotiations, Teed fills the necks of two deer, antlers entangled, with images of women wrestling in the nude. The work manifests a tension between violence and tenderness, competition and play, sex and dominance. Michael Rennick’s work refers to queer use of animal metaphor, with careful and precious paintings of individual animals (wolf, pig, otter, and bear) on underwear which has been subsequently ripped up by his dog. Mary Tremonte’s silkscreened hankies serve a similar function, charting queer self-identifying gestures through the language of the animal kingdom. Her serigraph prints document instances of queerness in the animal world, and include the story of Roy and Silo, two male chinstrap penguins at the Central Park Zoo who nested together in 1998, first caring for an egg-shaped rock, and finally hatching an adoptive egg. Together, the works in the show highlight the ecologies of queerness, and present scientific and inventive potential for worlds of human and animal identity not bound by dichotomy.-Alison Cooley
Wildlife: Queer Zoology
Humboldt Magnussen invites us into “Wildlife: Queer Zoology” by asking that we don animal masks he has painstakingly silkscreened. Caribou, Penguin, Walrus, and Giraffe – the masks suggest we adopt new animal identities for the opening evening, adorn ourselves with new costumes that challenge the boundaries of nature and culture.
The show questions the rhetoric of queer sexuality’s natural- (or unnatural-)ness. Responding to right-wing-evangelical claims that queer sexualities and non-gender-conforming identities are unnatural, Magnussen’s exhibition features the work of seven artists who challenge this notion.
Alexis Boyle’s coil of rope snakes refers to recent research finding that male snakes which emit both male and female hormones are seen the most desirable mates, attracting frenzied attention resulting in a tangled “mating ball.” This finding suggests that long-held ideas about sexuality among animals are perhaps more politically convenient than accurate. Boyle’s work reexamines queerness in both animal and human worlds by emphasizing the degree to which the gender binary is constructed by social norms, rather than hard science.Gustavo Cerquera Benjumea’s tongue-in-cheek sculpture plays the part of a good-luck charm (a dried llama fetus), designed to protect Videofag from homophobia and transphobia. A certificate of authenticity purportedly from the Bolivian and Columbian embassies accompanies it on the wall. Benjumea’s sculpture provides a complex mixing ground for preconceptions about both culture and sexuality, and hints at the magical, rather than strictly scientific, role of the animal.Danielle Nicole Smith’s high-femme bejeweled works look at the parallel spaces of domesticity and domestication, pairing an image of a kitten captioned “Lady Love,” aside a sparkly text collage spelling out her girlfriend’s affectionate nickname. Meanwhile, Corinne Teed’s labourious drawing and collage works represent ambiguous human and animal sexual behaviours. In Negotiations, Teed fills the necks of two deer, antlers entangled, with images of women wrestling in the nude. The work manifests a tension between violence and tenderness, competition and play, sex and dominance. Michael Rennick’s work refers to queer use of animal metaphor, with careful and precious paintings of individual animals (wolf, pig, otter, and bear) on underwear which has been subsequently ripped up by his dog. Mary Tremonte’s silkscreened hankies serve a similar function, charting queer self-identifying gestures through the language of the animal kingdom. Her serigraph prints document instances of queerness in the animal world, and include the story of Roy and Silo, two male chinstrap penguins at the Central Park Zoo who nested together in 1998, first caring for an egg-shaped rock, and finally hatching an adoptive egg. Together, the works in the show highlight the ecologies of queerness, and present scientific and inventive potential for worlds of human and animal identity not bound by dichotomy.-Alison Cooley
Wildlife: Queer Zoology
Humboldt Magnussen invites us into “Wildlife: Queer Zoology” by asking that we don animal masks he has painstakingly silkscreened. Caribou, Penguin, Walrus, and Giraffe – the masks suggest we adopt new animal identities for the opening evening, adorn ourselves with new costumes that challenge the boundaries of nature and culture.
The show questions the rhetoric of queer sexuality’s natural- (or unnatural-)ness. Responding to right-wing-evangelical claims that queer sexualities and non-gender-conforming identities are unnatural, Magnussen’s exhibition features the work of seven artists who challenge this notion.
Alexis Boyle’s coil of rope snakes refers to recent research finding that male snakes which emit both male and female hormones are seen the most desirable mates, attracting frenzied attention resulting in a tangled “mating ball.” This finding suggests that long-held ideas about sexuality among animals are perhaps more politically convenient than accurate. Boyle’s work reexamines queerness in both animal and human worlds by emphasizing the degree to which the gender binary is constructed by social norms, rather than hard science.Gustavo Cerquera Benjumea’s tongue-in-cheek sculpture plays the part of a good-luck charm (a dried llama fetus), designed to protect Videofag from homophobia and transphobia. A certificate of authenticity purportedly from the Bolivian and Columbian embassies accompanies it on the wall. Benjumea’s sculpture provides a complex mixing ground for preconceptions about both culture and sexuality, and hints at the magical, rather than strictly scientific, role of the animal.Danielle Nicole Smith’s high-femme bejeweled works look at the parallel spaces of domesticity and domestication, pairing an image of a kitten captioned “Lady Love,” aside a sparkly text collage spelling out her girlfriend’s affectionate nickname. Meanwhile, Corinne Teed’s labourious drawing and collage works represent ambiguous human and animal sexual behaviours. In Negotiations, Teed fills the necks of two deer, antlers entangled, with images of women wrestling in the nude. The work manifests a tension between violence and tenderness, competition and play, sex and dominance. Michael Rennick’s work refers to queer use of animal metaphor, with careful and precious paintings of individual animals (wolf, pig, otter, and bear) on underwear which has been subsequently ripped up by his dog. Mary Tremonte’s silkscreened hankies serve a similar function, charting queer self-identifying gestures through the language of the animal kingdom. Her serigraph prints document instances of queerness in the animal world, and include the story of Roy and Silo, two male chinstrap penguins at the Central Park Zoo who nested together in 1998, first caring for an egg-shaped rock, and finally hatching an adoptive egg. Together, the works in the show highlight the ecologies of queerness, and present scientific and inventive potential for worlds of human and animal identity not bound by dichotomy.-Alison Cooley
Wildlife: Queer Zoology
Humboldt Magnussen invites us into “Wildlife: Queer Zoology” by asking that we don animal masks he has painstakingly silkscreened. Caribou, Penguin, Walrus, and Giraffe – the masks suggest we adopt new animal identities for the opening evening, adorn ourselves with new costumes that challenge the boundaries of nature and culture.
The show questions the rhetoric of queer sexuality’s natural- (or unnatural-)ness. Responding to right-wing-evangelical claims that queer sexualities and non-gender-conforming identities are unnatural, Magnussen’s exhibition features the work of seven artists who challenge this notion.
Alexis Boyle’s coil of rope snakes refers to recent research finding that male snakes which emit both male and female hormones are seen the most desirable mates, attracting frenzied attention resulting in a tangled “mating ball.” This finding suggests that long-held ideas about sexuality among animals are perhaps more politically convenient than accurate. Boyle’s work reexamines queerness in both animal and human worlds by emphasizing the degree to which the gender binary is constructed by social norms, rather than hard science.Gustavo Cerquera Benjumea’s tongue-in-cheek sculpture plays the part of a good-luck charm (a dried llama fetus), designed to protect Videofag from homophobia and transphobia. A certificate of authenticity purportedly from the Bolivian and Columbian embassies accompanies it on the wall. Benjumea’s sculpture provides a complex mixing ground for preconceptions about both culture and sexuality, and hints at the magical, rather than strictly scientific, role of the animal.Danielle Nicole Smith’s high-femme bejeweled works look at the parallel spaces of domesticity and domestication, pairing an image of a kitten captioned “Lady Love,” aside a sparkly text collage spelling out her girlfriend’s affectionate nickname. Meanwhile, Corinne Teed’s labourious drawing and collage works represent ambiguous human and animal sexual behaviours. In Negotiations, Teed fills the necks of two deer, antlers entangled, with images of women wrestling in the nude. The work manifests a tension between violence and tenderness, competition and play, sex and dominance. Michael Rennick’s work refers to queer use of animal metaphor, with careful and precious paintings of individual animals (wolf, pig, otter, and bear) on underwear which has been subsequently ripped up by his dog. Mary Tremonte’s silkscreened hankies serve a similar function, charting queer self-identifying gestures through the language of the animal kingdom. Her serigraph prints document instances of queerness in the animal world, and include the story of Roy and Silo, two male chinstrap penguins at the Central Park Zoo who nested together in 1998, first caring for an egg-shaped rock, and finally hatching an adoptive egg. Together, the works in the show highlight the ecologies of queerness, and present scientific and inventive potential for worlds of human and animal identity not bound by dichotomy.-Alison Cooley
Wildlife: Queer Zoology
Humboldt Magnussen invites us into “Wildlife: Queer Zoology” by asking that we don animal masks he has painstakingly silkscreened. Caribou, Penguin, Walrus, and Giraffe – the masks suggest we adopt new animal identities for the opening evening, adorn ourselves with new costumes that challenge the boundaries of nature and culture.
The show questions the rhetoric of queer sexuality’s natural- (or unnatural-)ness. Responding to right-wing-evangelical claims that queer sexualities and non-gender-conforming identities are unnatural, Magnussen’s exhibition features the work of seven artists who challenge this notion.
Alexis Boyle’s coil of rope snakes refers to recent research finding that male snakes which emit both male and female hormones are seen the most desirable mates, attracting frenzied attention resulting in a tangled “mating ball.” This finding suggests that long-held ideas about sexuality among animals are perhaps more politically convenient than accurate. Boyle’s work reexamines queerness in both animal and human worlds by emphasizing the degree to which the gender binary is constructed by social norms, rather than hard science.Gustavo Cerquera Benjumea’s tongue-in-cheek sculpture plays the part of a good-luck charm (a dried llama fetus), designed to protect Videofag from homophobia and transphobia. A certificate of authenticity purportedly from the Bolivian and Columbian embassies accompanies it on the wall. Benjumea’s sculpture provides a complex mixing ground for preconceptions about both culture and sexuality, and hints at the magical, rather than strictly scientific, role of the animal.Danielle Nicole Smith’s high-femme bejeweled works look at the parallel spaces of domesticity and domestication, pairing an image of a kitten captioned “Lady Love,” aside a sparkly text collage spelling out her girlfriend’s affectionate nickname. Meanwhile, Corinne Teed’s labourious drawing and collage works represent ambiguous human and animal sexual behaviours. In Negotiations, Teed fills the necks of two deer, antlers entangled, with images of women wrestling in the nude. The work manifests a tension between violence and tenderness, competition and play, sex and dominance. Michael Rennick’s work refers to queer use of animal metaphor, with careful and precious paintings of individual animals (wolf, pig, otter, and bear) on underwear which has been subsequently ripped up by his dog. Mary Tremonte’s silkscreened hankies serve a similar function, charting queer self-identifying gestures through the language of the animal kingdom. Her serigraph prints document instances of queerness in the animal world, and include the story of Roy and Silo, two male chinstrap penguins at the Central Park Zoo who nested together in 1998, first caring for an egg-shaped rock, and finally hatching an adoptive egg. Together, the works in the show highlight the ecologies of queerness, and present scientific and inventive potential for worlds of human and animal identity not bound by dichotomy.-Alison Cooley
Wildlife: Queer Zoology
Humboldt Magnussen invites us into “Wildlife: Queer Zoology” by asking that we don animal masks he has painstakingly silkscreened. Caribou, Penguin, Walrus, and Giraffe – the masks suggest we adopt new animal identities for the opening evening, adorn ourselves with new costumes that challenge the boundaries of nature and culture.
The show questions the rhetoric of queer sexuality’s natural- (or unnatural-)ness. Responding to right-wing-evangelical claims that queer sexualities and non-gender-conforming identities are unnatural, Magnussen’s exhibition features the work of seven artists who challenge this notion.
Alexis Boyle’s coil of rope snakes refers to recent research finding that male snakes which emit both male and female hormones are seen the most desirable mates, attracting frenzied attention resulting in a tangled “mating ball.” This finding suggests that long-held ideas about sexuality among animals are perhaps more politically convenient than accurate. Boyle’s work reexamines queerness in both animal and human worlds by emphasizing the degree to which the gender binary is constructed by social norms, rather than hard science.Gustavo Cerquera Benjumea’s tongue-in-cheek sculpture plays the part of a good-luck charm (a dried llama fetus), designed to protect Videofag from homophobia and transphobia. A certificate of authenticity purportedly from the Bolivian and Columbian embassies accompanies it on the wall. Benjumea’s sculpture provides a complex mixing ground for preconceptions about both culture and sexuality, and hints at the magical, rather than strictly scientific, role of the animal.Danielle Nicole Smith’s high-femme bejeweled works look at the parallel spaces of domesticity and domestication, pairing an image of a kitten captioned “Lady Love,” aside a sparkly text collage spelling out her girlfriend’s affectionate nickname. Meanwhile, Corinne Teed’s labourious drawing and collage works represent ambiguous human and animal sexual behaviours. In Negotiations, Teed fills the necks of two deer, antlers entangled, with images of women wrestling in the nude. The work manifests a tension between violence and tenderness, competition and play, sex and dominance. Michael Rennick’s work refers to queer use of animal metaphor, with careful and precious paintings of individual animals (wolf, pig, otter, and bear) on underwear which has been subsequently ripped up by his dog. Mary Tremonte’s silkscreened hankies serve a similar function, charting queer self-identifying gestures through the language of the animal kingdom. Her serigraph prints document instances of queerness in the animal world, and include the story of Roy and Silo, two male chinstrap penguins at the Central Park Zoo who nested together in 1998, first caring for an egg-shaped rock, and finally hatching an adoptive egg. Together, the works in the show highlight the ecologies of queerness, and present scientific and inventive potential for worlds of human and animal identity not bound by dichotomy.-Alison Cooley

Wildlife: Queer Zoology

Humboldt Magnussen invites us into “Wildlife: Queer Zoology” by asking that we don animal masks he has painstakingly silkscreened. Caribou, Penguin, Walrus, and Giraffe – the masks suggest we adopt new animal identities for the opening evening, adorn ourselves with new costumes that challenge the boundaries of nature and culture.

The show questions the rhetoric of queer sexuality’s natural- (or unnatural-)ness. Responding to right-wing-evangelical claims that queer sexualities and non-gender-conforming identities are unnatural, Magnussen’s exhibition features the work of seven artists who challenge this notion.

Alexis Boyle’s coil of rope snakes refers to recent research finding that male snakes which emit both male and female hormones are seen the most desirable mates, attracting frenzied attention resulting in a tangled “mating ball.” This finding suggests that long-held ideas about sexuality among animals are perhaps more politically convenient than accurate. Boyle’s work reexamines queerness in both animal and human worlds by emphasizing the degree to which the gender binary is constructed by social norms, rather than hard science.

Gustavo Cerquera Benjumea’s tongue-in-cheek sculpture plays the part of a good-luck charm (a dried llama fetus), designed to protect Videofag from homophobia and transphobia. A certificate of authenticity purportedly from the Bolivian and Columbian embassies accompanies it on the wall. Benjumea’s sculpture provides a complex mixing ground for preconceptions about both culture and sexuality, and hints at the magical, rather than strictly scientific, role of the animal.

Danielle Nicole Smith’s high-femme bejeweled works look at the parallel spaces of domesticity and domestication, pairing an image of a kitten captioned “Lady Love,” aside a sparkly text collage spelling out her girlfriend’s affectionate nickname. Meanwhile, Corinne Teed’s labourious drawing and collage works represent ambiguous human and animal sexual behaviours. In Negotiations, Teed fills the necks of two deer, antlers entangled, with images of women wrestling in the nude. The work manifests a tension between violence and tenderness, competition and play, sex and dominance.

Michael Rennick’s work refers to queer use of animal metaphor, with careful and precious paintings of individual animals (wolf, pig, otter, and bear) on underwear which has been subsequently ripped up by his dog. Mary Tremonte’s silkscreened hankies serve a similar function, charting queer self-identifying gestures through the language of the animal kingdom. Her serigraph prints document instances of queerness in the animal world, and include the story of Roy and Silo, two male chinstrap penguins at the Central Park Zoo who nested together in 1998, first caring for an egg-shaped rock, and finally hatching an adoptive egg. Together, the works in the show highlight the ecologies of queerness, and present scientific and inventive potential for worlds of human and animal identity not bound by dichotomy.

-Alison Cooley

6 Photos
/ humboldt magnussen alexis boyle mary tremonte michael rennick corinne teed danielle nicole smith gustavo cerquera benjumea queer zoology videofag art toronto ecology sexuality nature biology science canada
Véronique Ducharme’s Encounters
Véronique Ducharme’s Encounters (2012-2013) is an unusual series of animal photographs: candid, uncanny, and at times startling. The hundreds of images, fauna from bears to does and deer, foxes and smaller mammals, were taken with a remote motion-detecting hunting camera that uses heat to trigger the photographic exposure. Ducharme’s artistic endeavour finds authority in the conceptualization of the project, however the artist relinquishes such charge by removing herself from the actual photo-taking process.
In their haphazard composition, over or under exposure, and blurred subjects, this suite of photographs subverts the aesthetic sensibilities of a wildlife photo-vernacular, providing instead an alternative view of the boreal spaces typically unpopulated by humankind. As such, the images afford a rare glimpse of animals at ease, unthreatened by the intimidating presence of humans.
As part of Le Mois de la Photo in Montreal, the series is continuous with the over-arching theme, Drone: the Automated Image. Here, the human is unmoored as the central productive agent, leaving wildlife and technology to mingle in the imaging process without the authoritative hand of the photographer. But unlike the militant drone, capable of wreaking remote havoc, Ducharme’s automation creates a productive space within which animals reign supreme and are bestowed with an agency otherwise denied.
The white piercing eyes, nonchalance and sincerity of the wildlife that populate Encounters provokes a reinterpretation of the proverbial falling tree: perhaps it is not a question of whether it makes a sound, but rather who hears it?
Encounters is on view until October 5 at Galerie B-312 as part of Montreal’s Le Mois de la Photo. 
-Natasha Chaykowski
Véronique Ducharme’s Encounters
Véronique Ducharme’s Encounters (2012-2013) is an unusual series of animal photographs: candid, uncanny, and at times startling. The hundreds of images, fauna from bears to does and deer, foxes and smaller mammals, were taken with a remote motion-detecting hunting camera that uses heat to trigger the photographic exposure. Ducharme’s artistic endeavour finds authority in the conceptualization of the project, however the artist relinquishes such charge by removing herself from the actual photo-taking process.
In their haphazard composition, over or under exposure, and blurred subjects, this suite of photographs subverts the aesthetic sensibilities of a wildlife photo-vernacular, providing instead an alternative view of the boreal spaces typically unpopulated by humankind. As such, the images afford a rare glimpse of animals at ease, unthreatened by the intimidating presence of humans.
As part of Le Mois de la Photo in Montreal, the series is continuous with the over-arching theme, Drone: the Automated Image. Here, the human is unmoored as the central productive agent, leaving wildlife and technology to mingle in the imaging process without the authoritative hand of the photographer. But unlike the militant drone, capable of wreaking remote havoc, Ducharme’s automation creates a productive space within which animals reign supreme and are bestowed with an agency otherwise denied.
The white piercing eyes, nonchalance and sincerity of the wildlife that populate Encounters provokes a reinterpretation of the proverbial falling tree: perhaps it is not a question of whether it makes a sound, but rather who hears it?
Encounters is on view until October 5 at Galerie B-312 as part of Montreal’s Le Mois de la Photo. 
-Natasha Chaykowski
Véronique Ducharme’s Encounters
Véronique Ducharme’s Encounters (2012-2013) is an unusual series of animal photographs: candid, uncanny, and at times startling. The hundreds of images, fauna from bears to does and deer, foxes and smaller mammals, were taken with a remote motion-detecting hunting camera that uses heat to trigger the photographic exposure. Ducharme’s artistic endeavour finds authority in the conceptualization of the project, however the artist relinquishes such charge by removing herself from the actual photo-taking process.
In their haphazard composition, over or under exposure, and blurred subjects, this suite of photographs subverts the aesthetic sensibilities of a wildlife photo-vernacular, providing instead an alternative view of the boreal spaces typically unpopulated by humankind. As such, the images afford a rare glimpse of animals at ease, unthreatened by the intimidating presence of humans.
As part of Le Mois de la Photo in Montreal, the series is continuous with the over-arching theme, Drone: the Automated Image. Here, the human is unmoored as the central productive agent, leaving wildlife and technology to mingle in the imaging process without the authoritative hand of the photographer. But unlike the militant drone, capable of wreaking remote havoc, Ducharme’s automation creates a productive space within which animals reign supreme and are bestowed with an agency otherwise denied.
The white piercing eyes, nonchalance and sincerity of the wildlife that populate Encounters provokes a reinterpretation of the proverbial falling tree: perhaps it is not a question of whether it makes a sound, but rather who hears it?
Encounters is on view until October 5 at Galerie B-312 as part of Montreal’s Le Mois de la Photo. 
-Natasha Chaykowski
Véronique Ducharme’s Encounters
Véronique Ducharme’s Encounters (2012-2013) is an unusual series of animal photographs: candid, uncanny, and at times startling. The hundreds of images, fauna from bears to does and deer, foxes and smaller mammals, were taken with a remote motion-detecting hunting camera that uses heat to trigger the photographic exposure. Ducharme’s artistic endeavour finds authority in the conceptualization of the project, however the artist relinquishes such charge by removing herself from the actual photo-taking process.
In their haphazard composition, over or under exposure, and blurred subjects, this suite of photographs subverts the aesthetic sensibilities of a wildlife photo-vernacular, providing instead an alternative view of the boreal spaces typically unpopulated by humankind. As such, the images afford a rare glimpse of animals at ease, unthreatened by the intimidating presence of humans.
As part of Le Mois de la Photo in Montreal, the series is continuous with the over-arching theme, Drone: the Automated Image. Here, the human is unmoored as the central productive agent, leaving wildlife and technology to mingle in the imaging process without the authoritative hand of the photographer. But unlike the militant drone, capable of wreaking remote havoc, Ducharme’s automation creates a productive space within which animals reign supreme and are bestowed with an agency otherwise denied.
The white piercing eyes, nonchalance and sincerity of the wildlife that populate Encounters provokes a reinterpretation of the proverbial falling tree: perhaps it is not a question of whether it makes a sound, but rather who hears it?
Encounters is on view until October 5 at Galerie B-312 as part of Montreal’s Le Mois de la Photo. 
-Natasha Chaykowski

Véronique Ducharme’s Encounters

Véronique Ducharme’s Encounters (2012-2013) is an unusual series of animal photographs: candid, uncanny, and at times startling. The hundreds of images, fauna from bears to does and deer, foxes and smaller mammals, were taken with a remote motion-detecting hunting camera that uses heat to trigger the photographic exposure. Ducharme’s artistic endeavour finds authority in the conceptualization of the project, however the artist relinquishes such charge by removing herself from the actual photo-taking process.

In their haphazard composition, over or under exposure, and blurred subjects, this suite of photographs subverts the aesthetic sensibilities of a wildlife photo-vernacular, providing instead an alternative view of the boreal spaces typically unpopulated by humankind. As such, the images afford a rare glimpse of animals at ease, unthreatened by the intimidating presence of humans.

As part of Le Mois de la Photo in Montreal, the series is continuous with the over-arching theme, Drone: the Automated Image. Here, the human is unmoored as the central productive agent, leaving wildlife and technology to mingle in the imaging process without the authoritative hand of the photographer. But unlike the militant drone, capable of wreaking remote havoc, Ducharme’s automation creates a productive space within which animals reign supreme and are bestowed with an agency otherwise denied.

The white piercing eyes, nonchalance and sincerity of the wildlife that populate Encounters provokes a reinterpretation of the proverbial falling tree: perhaps it is not a question of whether it makes a sound, but rather who hears it?

Encounters is on view until October 5 at Galerie B-312 as part of Montreal’s Le Mois de la Photo. 

-Natasha Chaykowski

4 Photos
/ art science nature animals night veronique ducharme encounters Natasha Chaykowski
God’s Prototype by Ian Crawley
As if ‘playing God’ artist Ian Crawley is taking found objects in nature, such as stones, sticks and moss, to recreate the human body. Humorously, the artist describes these pieces as what he imagined God’s first ‘sketches’ or prototypes of the human body would look like, with the materials that were available.
But this work isn’t focusing on Creationism or who (or what) created whom, but the connection we as humans have to nature. Reflecting on the natural-made versus man-made. These natural objects have always been used by humans to sustain them us nutrition, or protect them us weapons. Even though we now have processed foods and more advanced weaponry, there is still a need for natural objects. We need trees for oxygen, don’t we? Coexistence is the main theme in this work.
In the end, God’s Prototype is there to remind us that we aren’t above or below stones, sticks, and plants. We are part of the same level of natural objects, and though we’re made out of flesh and not leaves, we’re still as natural as a leaf or a rock. 
-Anna Paluch

God’s Prototype by Ian Crawley


As if ‘playing God’ artist
Ian Crawley is taking found objects in nature, such as stones, sticks and moss, to recreate the human body. Humorously, the artist describes these pieces as what he imagined God’s first ‘sketches’ or prototypes of the human body would look like, with the materials that were available.

But this work isn’t focusing on Creationism or who (or what) created whom, but the connection we as humans have to nature. Reflecting on the natural-made versus man-made. These natural objects have always been used by humans to sustain them us nutrition, or protect them us weapons. Even though we now have processed foods and more advanced weaponry, there is still a need for natural objects. We need trees for oxygen, don’t we? Coexistence is the main theme in this work.

In the end, God’s Prototype is there to remind us that we aren’t above or below stones, sticks, and plants. We are part of the same level of natural objects, and though we’re made out of flesh and not leaves, we’re still as natural as a leaf or a rock. 

-Anna Paluch

(Source: artandsciencejournal.com)

anna paluch ian crawley biology nature plants rocks art science art and science journal
Rogan Brown’s Paper Sculptures
Through his delicate paper sculptures, Rogan Brown expresses his fascination with the intricacy of the natural world. Drawing inspiration from scientific illustrations, Brown’s hand-cut pieces do not represent a single organism, but reflect themes found in nature. The patterns that Brown searches for exist in different scales, ranging from single cells to large geological formations.
Although each project is incredibly time consuming, Brown states that the amount of time spent on each sculpture is part of its meaning. Certainly, thinking about how much labour goes in to each piece leaves you in awe. The artist states that he chose paper as his medium because “it captures perfectly that mixture of delicacy and durability that for me characterizes the natural world” (Rogan Brown).
-Janine Truong
Rogan Brown’s Paper Sculptures
Through his delicate paper sculptures, Rogan Brown expresses his fascination with the intricacy of the natural world. Drawing inspiration from scientific illustrations, Brown’s hand-cut pieces do not represent a single organism, but reflect themes found in nature. The patterns that Brown searches for exist in different scales, ranging from single cells to large geological formations.
Although each project is incredibly time consuming, Brown states that the amount of time spent on each sculpture is part of its meaning. Certainly, thinking about how much labour goes in to each piece leaves you in awe. The artist states that he chose paper as his medium because “it captures perfectly that mixture of delicacy and durability that for me characterizes the natural world” (Rogan Brown).
-Janine Truong
Rogan Brown’s Paper Sculptures
Through his delicate paper sculptures, Rogan Brown expresses his fascination with the intricacy of the natural world. Drawing inspiration from scientific illustrations, Brown’s hand-cut pieces do not represent a single organism, but reflect themes found in nature. The patterns that Brown searches for exist in different scales, ranging from single cells to large geological formations.
Although each project is incredibly time consuming, Brown states that the amount of time spent on each sculpture is part of its meaning. Certainly, thinking about how much labour goes in to each piece leaves you in awe. The artist states that he chose paper as his medium because “it captures perfectly that mixture of delicacy and durability that for me characterizes the natural world” (Rogan Brown).
-Janine Truong
Rogan Brown’s Paper Sculptures
Through his delicate paper sculptures, Rogan Brown expresses his fascination with the intricacy of the natural world. Drawing inspiration from scientific illustrations, Brown’s hand-cut pieces do not represent a single organism, but reflect themes found in nature. The patterns that Brown searches for exist in different scales, ranging from single cells to large geological formations.
Although each project is incredibly time consuming, Brown states that the amount of time spent on each sculpture is part of its meaning. Certainly, thinking about how much labour goes in to each piece leaves you in awe. The artist states that he chose paper as his medium because “it captures perfectly that mixture of delicacy and durability that for me characterizes the natural world” (Rogan Brown).
-Janine Truong
Rogan Brown’s Paper Sculptures
Through his delicate paper sculptures, Rogan Brown expresses his fascination with the intricacy of the natural world. Drawing inspiration from scientific illustrations, Brown’s hand-cut pieces do not represent a single organism, but reflect themes found in nature. The patterns that Brown searches for exist in different scales, ranging from single cells to large geological formations.
Although each project is incredibly time consuming, Brown states that the amount of time spent on each sculpture is part of its meaning. Certainly, thinking about how much labour goes in to each piece leaves you in awe. The artist states that he chose paper as his medium because “it captures perfectly that mixture of delicacy and durability that for me characterizes the natural world” (Rogan Brown).
-Janine Truong

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