Actual size of the weevil and beetle sector of Australia’s grain pests is in the 2-4 mm range. The electron microscope’s extreme magnification revealed unique form and detail granting each pest survival on a specific grain. It was an opportunity to discover each insect’s distinct features – and ultimately combine the solid form and scientific nature of ink drawing with the more fragile and raw line qualities offered by printmaking processes of drypoint and acid etching.
When thinking of aluminum, kitchen foil may come to mind. Shiny on one side, matte on the other. Aluminum foil is generally 1.8 – 2.5 microns thick. Aluminum leaf at 0.4 – 0.8 microns is fragile but equally capable of excessive reflection and matte finish, frequently presenting an outcome unexpected and intriguing in its oxidization and reflective traits.
The challenge in working with metal leaf is adjusting underlying surface qualities affecting reflected light. The process is both compelling and frustrating as changing light or viewer location can quickly morph the image into new patterns of reflection.
The video frame is from a time lapse of a mercury blob’s interaction with aluminum. With the protective oxide layer of the aluminum plate removed, mercury is able to initiate a fragile amalgam formation of aluminum oxide. It grows in height and width and collapses as it crawls across the plate.
Expansive use of aluminum foil presents a discordantly cold but softly reflective portrayal of shrouded ghost-like women. An unexpected and jarring contrast of light occurs. Aluminum highlights darkness within empty figures and harshness of the disturbing political context that speaks of women and religion.
With concept reduced to linear simplicity, attention is captured.
Jetelovà’s ‘Iceland Project’ lifts a fiber optic line into a simplified 3-D description of rugged terrain.
Fontana’s ‘Concetto Spaziale’ focuses on disturbing slashed lines on a pristine primed canvas.
Büttner’s incised line woodcut captures a marquee’s structure via only the most critical lines.
A print small in size (6.75″ x 15″) but extraordinarily powerful in representation – as two figures crouch under umbrellas poised to take the brunt of heavy rainfall. The print exhibits the mastery of skill and sensitivity typical of Takahashi’s woodblock prints.
Ki Chul Kim, ‘Sound Looking – Rain’, sound gear, rain drop sounds, eight channel speaker
California Institute of the Arts, Los Angeles, 2007
Ki Chul Kim works “with sound, against more traditional, visual forms of art. To Kim, sound itself is the subject . . . ‘Sound Looking – Rain’ . . . investigates the nature of perception and representation in relation to the Buddhist concept of emptiness“.
Many of today’s architects and engineers are dedicated to innovation minimizing the destructive power of natural forces such as typhoon-level winds, earthquakes and tsunamis. Contemporary solutions present an undeniable beauty visualizing the dynamics underlying potentially devastating forces.
The Gensler team anticipated tapered asymmetry and rounded corners to “withstand typhoon-force winds common in Shanghai. Using wind tunnel tests . . . [the team] refined the tower’s form, which reduced building wind loads by 24 percent”
“The structure resists quake shaking using a system of concrete cores and composite columns that supposedly ensure structural stability.” The embracing metal mesh tent presents a unique aesthetic in its mimicry of climate and earthquake-prone landscape.
CRAB Studio developed a concept employing dynamic blade-like structures designed to cut up and disperse a massive tsunami’s destructive power. The result is an unusually expressive design with its lyrical formations engulfing the area.