Skip navigation

Noel Kerns is a photographer i met recently over flickr. He’s a Dallas based photographer who captures Texas towns, abandoned spaces and towns he fantasizes with his pretty intensive use of different light sources at night. He usually does night shooting, which is pretty interesting once you combine the unseen with artificial colored light strobes. He captures the essence and beauty of shooting buildings under full moon, besides shooting at the interior of those buildings.

His scenes are mostly ghostly and deserted, and it seems that he’s most affectionate about the details revealed at night through the moonlight. He names this revelation of his imagination as “execution”. This execution recreates the seen vision through the control of the space.

As i’m severely interested in abandoned spaces for the past 2 months, and will be for another while since i’m doing my video shooting in such abandoned places in my city, i envied the environment he could cope up with and fruited his final works.

Below are several of mu personal favorites, better watch this man he’s fascinating. What’s actually more fascinating is that he explains how he processes his work under each and every work.

 

 

 

 

 

 

 

 

 

Advertisements

“In The Spyfrost Project, photographer David Trautrimas hypothesizes the origins of iconic modern appliances by reassembling them into top secret, Cold War era military outposts. These skunkwork structures, hybrids of both machinery and architecture, stand as colossal weaponized  ancestors to common objects such as refrigerators, lawnmowers and washing machines. Fashioned with aspiring futurism, yet an ominous sense of militaristic purpose, these installations link the parallel development of capitalism’s postwar consumer culture and the Military Industrial Complex.”

In each and every one of his works, one can realize how cleverly Trautrimas has merged specific pieces of different devices in such harmonious way, rendering each scene as a city scene out of those industrial objects. Besides its aesthetic appeal, the context of his works influenced me a lot. The technical blending of the images with real landscapes renders his work perfect. Below are several images of his industrial complex.


 

Above are his city meshes, and below are more illustrative and conceptual serigraphs of him.

The artist “re-purposes” daily house objects to form fantasy cities immersing them into real landscapes. He applies his works in the name of a  modernist architect. I fell for his works first, then his statement and the way he assembles his idea into what he calls the Habitat Machines. For the rest of his works and full statement, visit.

The formation of light graphing is not much later than the formation of the typefaces and typo-graphing -surely there’s a huge difference in time and dimension of the works, yet light followed up the type and there we had photographic visualization of our environment besides the graphic one. I came across this artist, and thought what she did was actually a great topic itself, combining the formation of book and photography by fitting the book into controlled forms, and taking their photos. The books look more sculptural rather than informational in her works. The artist is Cara Baker.

The book is called ABC3D. I am most amazed with the letter “u” and the swift change from “x” to “y”, yet the whole video is worth watching. This is a pop-up book, an artwork, a physical motion graphics, a dynamic design so that the letters change with the angle of your hands before you can even observe the change so that you flip each page over and over again. It would be even better if the numbers and initials were somehow included. The artist is Marion Bataille.

“My name is Victor Timofeev, and these are some of my drawings. I started drawing when I got injured three years ago. Alone with a lot of newfound free time, I picked up a pen and pencil and started sketching. The images evoked were always on the dark side, only because my soul was full of negative energy I needed to release. The process of creation became therapeutic, as well as a daily necessity. Looking back, I am almost glad I got hurt and discovered this new life. Everything happens for a reason, right?”

— Viktor Timofeev

august 27th 2007. Section of a house revealing the form within .9.5 x 13.ink and graphite on Ingres paper.

 

Art happens. It happens by chance, by mistake, by wish, by sorrow, by extreme anger. Victor Timofeev‘s art happened to be by this last one. Not long ago, Timofeev found himself drawing after a dreadful skateboard accident. He subjected the event and its after effects in his art, reflecting all his inside frustrations and thrust. He had his red-black period, yet in time he got to incorporate architectural geometry patterns with sprayful, illustrative illusions. They sum up to create a an obsessive poetry on paper. Likewise, in his early works he used text repeatedly, as obsessive, to create a background pattern. He has his times for his colors.


august 7th 2007. Abstract forms derived from the study of the plans for the Museo della citta contemporanea di Venezia .9.5 x 13.ink and graphite on Ingres paper.

Again about architecture, and I should state now that I have a separate affection for it. Lend Pencil Studio is a project with a statement of a new voice in the emerging field created from the interdisciplinary overlap of architecture and site specific art. The Lead Pencil Studio (of Annie Han and Daniel Mihalyo) built Lawrimore’s gallery.

Here is their flickr account.

 

 

One more thing, they also have a perfect actionscrip 3 based website, it’s aesthetically very sophisticated.

 

Reading about the construction of the letters and their stance within geometrical borders, I realize that that I was also very much concerned nowadays -and actually have been for a considerable time- in the geometry of the space. The space we contain, our geometrical projection on the physical visible world, and before all that our common geometry that Da Vinci knows way better than any of us, and stated before any of us.

In a more general sense, I have been reading about semiotics for the whole past week, and way before that too, ended up that letters and type are actually emphasized too little compared to the formed langue(structure of language). On the other hand, until now in our History of Visual Communication course, we have been talkin about the formation of letters. This weeks subject was the masters of type, from Bembo to Bodoni. With a little enlightment of my own, I ended up thinking that letters are actually the initial signs, again systemized to become the word and the system we are talking about here is the purified form of all the surface phenomenon created by individuals. The letters are signs and even in the formation of each individual letter, there’s a system, consolidate in its own geometry.

Here are two videos I actually wanted to share, before things get more complex…

Vanishing Point from Takuya Hosogane on Vimeo.

Disruptive by Design from Takuya Hosogane on Vimeo.

 

Referring to the subject of “information graphics” in the past weeks -pictograms, iconography etc.- I came across the Slovakian artist Roman Ondák’s work as a “living infographic, a plotting of visitors’ heights whose mean will become increasingly apparent over the four months at the Temporary Stedelijk“.
Each participant is writing their names on the 4 walls, yet as there’s a mean where people’s heights could coincide, the names after some time started to overlap. At the end the wall typo became so dense that it looked like a huge black 4-edged linear black shape.

His statement is that the individuals in a society will, as a natural fact, will emerge and grow. And as they do, artist as the observer in that society will be revealing this emergence and other narrative contexts of the growth.



Another contemporary artist exhibited within the same museum, Barbara Kruger, is referring to another dimension of the individual, in more of a social and emotional manner. She uses massive typographical elements in a closed space of the museum. The installation is called Past/Present/Future.

This summer at CSM(Central Saint Martins), in the Holborn campus i’ve ran across several different studios like the huge wood athelier, the metal studio and personally most amazingly the letterpress studio where students can make their own letterpressing via using different print colors and metal types of many different font families.

The metal letters were placed in tiny boxes -the letter L in a rectangular box, the number 9 in another horizontal one, “,” in another box etc- and there was a little guide map to make life easier by showing the mapping of the letters in boxes. We could easily find where each letter bundle was placed in the big drawer and place them as tight as possible on a row which is stable by a ruler-like metal block -to arrange all the kerning and spacing- and also stabled at the bottom of each row by various-width thin metal blocks for leading purposes. For spacing, we had 5 different thicknesses of plain metal blocks, which required a little more precision and profession to complete the row, and hold it, once again as tight as possible so that nothing would move throughout the pressing on paper process.

First i went for Univers 65 -i’m a bit obsessive with the Univers family- yet we weren’t allowed to use the letters in the bottom drawers so as a second choice, i went for Franklin Gothic. I’ve written a random sentence, like the whole class did, and my tag below. Everyone used different fonts and result press was a bunch of different types on one canvas. The workshop leader color a huge wheel in two different colors; she mixed pink and yellow and turned the wheel for a while so that the colors were blended in the middle and still sharp and flat towards the edges. We had 3 colors on the wheel, which meant that we would have 3 different colors on the paper. Then the metal letters were placed below the colored wheel and each relief letter -at same height- were colored by the wheel until no metal texture -which meant “white/ blank” on paper- was visible.

The A3 paper was placed in its right place, between two thin wheel-like pieces of the mechanism, you locked the paper there by stepping on another mechanism at foot-level and then released when you were ready to turn the arm-wheel and press the sentences on the paper. The results were amazing in means of hand-made pressing, rather than using a digital printer which could fail you many times in a life-time.

Last year, in my graphic design course, one of my biggest worries was never achieving the right colors, meaning the colors i see on my lcd screen. Well, here, the whole coloring is in your control. You don’t need to see the color on your screen anymore since you have in flesh and blood. You smell the color, you smell the paper, you experience, you print your own material. I didn’t run across to anything more amazing than this in digital printing yet.

Here is the whole process with found images of the stages i’ve been talking about:

 

 

 

 

 

 

 

And here are the last two images, my own images, the two prints i’ve done at CSM workshop and took with me as a memoir: