Aesthetic Investigations
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Aesthetic Investigations
Digital Curations of Abstract , Minimal, Architectural & Urban Photographic Series
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Jeremy Russell : Photography

Jeremy Russell : Photography | Aesthetic Investigations | Scoop.it
Peter Downsbrough photographs urbanistic complexes, industrial sites, harbour areas and public spaces such as streets and parking lots. Whether it be wasteland, derelict buildings or whatever, these places offer a viewpoint. They let us see the quintessence of our cities. However, it is never a matter of recognizing a location. The subject of the photograph is less important than its structure or its architecture, which thus tends towards a certain universality. Also human beings are not included in this revelation of the city. A photograph is a clue, testifying to the urban reality all around us…
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Arnold Newman : ‘Early Works’ (Photography)

Arnold Newman : ‘Early Works’ (Photography) | Aesthetic Investigations | Scoop.it
“As for myself, I work the way I do because of the kind of person that I am – my work is an expression of myself. It reflects me, my fascination with people, the physical world around us, and the exciting medium in which I work. I do not claim that my way is the best or the only way, it is simply my way. It is an expression of myself, of the way I think and feel.” – Arnold Newman
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Anil Akkus : ‘Still Life’ Series (Photography)

Anil Akkus : ‘Still Life’ Series (Photography) | Aesthetic Investigations | Scoop.it

Anil specialises in still life and conceptual photography. In the studio his work revolves around playing with light and objects, where he uses ordinary day to day items and tries to reveal an unusual aspect…

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Torbjørn Rødland : ‘Eighteen Analogue Double Exposures’

Torbjørn Rødland : ‘Eighteen Analogue Double Exposures’ | Aesthetic Investigations | Scoop.it
SENTENCES ON PHOTOGRAPHY BY TORBJØRN RØDLAND

::

1. The muteness of a photograph matters as much as its ability to speak.
2. The juxtaposition of photographs matters as much as the muteness of each.
3. All photography fattens. Objectification is inescapable.
4. It cannot secure the integrity of its subject any more than it can satisfy the need to touch or taste.
5. Good ideas are easily bungled.
6. Banal ideas can be rescued by personal investment and beautiful execution.
7. Lacking an appealing surface, a photograph should depict surfaces appealingly.
8. A photo that refuses to market anything but its own complexities is perverse. Perversion is bliss.
9. A back-lit object is a pregnant object.
10. To disregard symbols is to disregard a part of human perception.
11. Photography may employ tools and characteristics of reportage without being reportage.
12. The only photojournalistic image to remain interesting is the one that produces or evokes myths.
13. A photographer in doubt will get better results than one caught up in the freedom of irony.
14. Aesthetic eyes are distant eyes. Melancholic eyes are distant eyes. Ironic eyes are distant eyes.
15. One challenge in photography is to outdistance distance. Immersion is key.
16. Irony may be applied in homeopathic doses.
17. A lyrical photograph should be aware of its absurdity. Lyricism grows from awareness.
18. For the photographer, everyone and everything is a model, including the photograph itself.
19. The photography characterized by these sentences is informed by conceptual art.
20. The photography characterized by these sentences is not conceptual photography.
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Bruno Mercier : ‘Fences’ Series (Photography)

Bruno Mercier : ‘Fences’ Series (Photography) | Aesthetic Investigations | Scoop.it
“In all of my photographic work, there is a certain prevailing theme which has something to do with light, movement, and atmosphere. I do love playing with rhythms, light, and lines. I often place landscape in the foreground, inside light, and compose space from the running lines. A play of light and shade when light shines in darkness. My photographs are my way to show and express some of my feelings and my personal perception of what surrounds me. Photography, for me, is not about reproducing the world. I am not really interested in making an accurate copy of what I see out there.

I really prefer the power of suggestion over description. What you can see in my photographic work goes through my own filters. OK… all the elements in my photos exist, and everybody could easily see them, but my goal is to offer an artistic interpretation and above all an emotion. I just show the elements I see, like trees and fences, for example, and use those elements as catalysts for my own imagination and hopefully for the viewer’s imagination. I’m generally attracted to places where stories can take place, where imagination can be fired. Furthermore, living in the Cotentin Peninsula (Normandy, France) provides me with opportunities to explore wonderful landscapes and seascapes…”
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Daniel Hutchinson : Paintings

Daniel Hutchinson : Paintings | Aesthetic Investigations | Scoop.it
My paintings address the subject of performance and the different architectural typologies that influence the exchange between audience and performer. I am interested in the ways in which architecture shapes the complex phenomena associated with the performer-audience transaction. In a complimentary fashion, my paintings have been made to shape reciprocal painting-observer interaction through light responsive surfaces that engage audiences in an expression analogous to performance.

I render each oil painting with a variety of grey and black hues on drafting film mounted onto panel. The result is a near monochrome picture that largely avoids traditional modeling of light and dark in the painting; rather the image emerges where actual light is caught in the grooves and reflected from the ridges of each carefully executed brushstroke. The viewer’s movement enables light to shift across the surface, simultaneously revealing and concealing parts of the subject.

My images are constantly on the verge of disintegration, as the indeterminate movement of light over the surface plunges areas into deep, endless blackness while bringing other areas into the brilliant, hard-edged focus of reflected light. Devoid of dramatic tableaux, my works suggest meaning through connotation, metaphor and through formal composition and presentation. My paintings gain further interest from the interchange of physical/optical experience and the non-locality of their depicted virtual topologies. At issue in my two-dimensional pictures is the reconciliation they offer between our three-dimensional, corporeal world and the zero dimensions of digital space. It is my aim to render, as real and palpable, indeterminate zones of infinite possibility – monochrome paintings that are as surprisingly unfixed, ephemeral and unpredictable as performance itself. – [Statement : D Hutchinson]
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Zoltan Bekefy : ‘Winter Minimalism’ Series (Photography)

Zoltan Bekefy : ‘Winter Minimalism’ Series (Photography) | Aesthetic Investigations | Scoop.it
“I started digital photography in 2007, which eventually changed my perception about the world. I have been tirelessly exploring the scenes of nature near and far, and trying to capture those magical moments and transform them into eternal art. Now I’m devoting my passion to landscape photography. My photography focuses are grand landscapes of oceans, sky and mountains, as well as fine natural substances. My ultimate goal is to capture the true beauty of nature around us…” – Zoltan Bekefy
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Alexander Daxböck : Drawings (Architecture)

Alexander Daxböck : Drawings (Architecture) | Aesthetic Investigations | Scoop.it
Topic of this work is the position and role of libraries in todays technical, short-living society. Followed by the question if its still necessary to build libraries in a digital (re)production age, how to handle and filter the amount of information nowadays and how it has to be presented, printed or visualized in words and graphics. Next to this the theoretical part is focused on the history and development of libraries, its building typologies, the question how to handle and store items and is a kind of dictionary that tries to explain common expressions, trends and ‘fashion words` next to the ordinary text.

For the design part a competition program mainly focused on storage and reading facilities was taken as a functional base. As a result of the research done on building typologies and its urban situation it was modified and extended by additional facilities and rooms. Main idea was to separate the functions of national archive (NA) and national library (NL) according to its needs. The northern part because of the less of natural light is occupied by the NA and its sensitive items with special storage conditions. The southern part hosts next to reading-/ study-/ seminar-rooms of the NL also the main reading hall, orientated to the city of Prague to catch the panoramic view.

In addition to this an idea of classifying rooms and functions was picked up – fixed and changeable rooms. Multi-functionality by keeping the main function of a room. To guarantee this the changeable rooms like atriums, exhibition, media rooms and archives were located around the main rooms and allow an extension of the building by ensuring the main purposes. The library more than a place to store and preserve knowledge, a public building that has to become public again for everyone, every age. An urban defined multilevel area for different medias with different activities and kinds of quality, adjusted along external (guidelines, limits, site, etc) and internal (functions, efficiency, light, view, etc) parameters. An ‘interface’ between built environment and nature between ‘user’ and information.
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Brancolina : ‘Jewish Museum in Berlin’ (Photography)

Brancolina : ‘Jewish Museum in Berlin’ (Photography) | Aesthetic Investigations | Scoop.it

Nothing is unimportant. There is no place without history, where you can just do what you want. Every place speaks in a unique way. It needs to communicate a certain way and to appeal to people. Architecture is an art of communication – not with words, but with proportions and with an aura. Every building must tell a story. – Daniel Libeskind.

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Ishimoto Yasuhiro : ‘Katsura Imperial Villa’ (Photography)

Ishimoto Yasuhiro : ‘Katsura Imperial Villa’ (Photography) | Aesthetic Investigations | Scoop.it
‘I feel that there is a kind of fateful link between Bauhaus and me. I would like to donate fifty-five of my photographs to the Bauhaus Archive Berlin’, said Ishimoto Yasuhiro in a letter to the Bauhaus Archive…

Born in San Francisco, the son of Japanese immigrants, Ishimoto was trained as a photographer at the Chicago Institute of Design. He numbers among the few people who have ever received permission to photograph the interior and exterior spaces of the centuries-old architectural complex. The photos were mainly taken in the early 1950s and early 1980s. They portray the building, which was praised as exemplary by the architects Walter Gropius and Bruno Taut, within an intentionally modernist approach.

Many of the photographs that were mainly shot by Ishimoto in May 1954 were published in 1960 in the photobook Katsura together with texts by Bauhaus founder Walter Gropius and the Japanese architect Kenzo Tange. The images deviate from the conventional standards of architectural photography, making no attempt to portray representative features. They show an eye for detail, often as abstract compositions in which lines organize the surface structure and textures fill the spaces between them…

The palace is segmented by Ishimoto into flat patterns that consist solely of grey tonal values. However, the subject of the photo always remains recognizable. Ishimoto fully exploits the available techniques of black-and-white photography with its dense black tones. His approach seems appropriate to the subject, yet also distant.
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Eva Hild : ‘Ceramic Sculptures’

Eva Hild : ‘Ceramic Sculptures’ | Aesthetic Investigations | Scoop.it
“Influence, pressure, strain. These words have been the foundation for my current projects that comprise communicating the theme in large, hand-built clay forms. Delicate continuously flowing entities in thinbuilt clay. They reflect varying degrees of external and internal pressures, and how, as a consequence, perception of inner and outer space is changed or challenged.” ~ Eva Hild

 

My sculptures are bodies, exposed to pressure and movements. On one hand, it is the mass in thin layers, running in a meander-like closed movement. On the other hand it is the empty space, air and light forming volumes, described by the contures of the mass. The construction is really made of the absent; the emptiness, the holes of air. The obvious body just defines the volume. My fascination is about the relationship between the internal and external realities; the dualism between inside and outside, content and form, feeling and shape, impression and expression. The shape consists of continuously flowing inner and outer surfaces, with one line running through the form. Inside turns outside and the loop gives the sculpture its uniformity and identity. The empty space is drawn into the form and becomes one with it; the air fills the cavities.

 

It is a reflection of my inner landscapes of form. Everyday, I experience the tension between presence and absence. The anxiety I feel is both constructive and destructive. My sculptures show me the necessity of opposites; they are paradoxes. Bodies where presence and absence meet. The clay is the prerequisite for creating space, and space is the prerequisite for the form of clay. Empty space as well as clay are my materials. I feel a great freedom in hand-building. It grows slowly, I have time to reflect, I can change direction, make connections and have a smooth surface with the same thickness. When the form is ready and the clay is dry, I sand away at the surface. The pieces are fired twice in stoneware temperature, around 1200°C and finally treated with silicate colour and pigments.” 

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Peter Downsbrough : Black & White Photography

Peter Downsbrough : Black & White Photography | Aesthetic Investigations | Scoop.it
Peter Downsbrough photographs urbanistic complexes, industrial sites, harbour areas and public spaces such as streets and parking lots. Whether it be wasteland, derelict buildings or whatever, these places offer a viewpoint. They let us see the quintessence of our cities. However, it is never a matter of recognizing a location. The subject of the photograph is less important than its structure or its architecture, which thus tends towards a certain universality. Also human beings are not included in this revelation of the city. A photograph is a clue, testifying to the urban reality all around us…
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Jef Van den Houte : Architectural Photography

Jef Van den Houte : Architectural Photography | Aesthetic Investigations | Scoop.it

“I’ve been a passionate amateur photographer since the end of the 70s. I’m an open minded photographer and try to appreciate more traditional fine art photography as well as modern and more experimental works. In my own work my favourite topics are urban/architecture…” – Jef Van den Houte

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Roberta Vilić : Paintings

Roberta Vilić : Paintings | Aesthetic Investigations | Scoop.it
Works of Roberta Vilić act as “fields of memory (reminiscence)“- they are places of intimate, symbolical exchange, where private perception transforms into a visual code. “The work itself is a screen of the authors interior“, wrote Janja Feric for the occasion of Roberta Vilic’s exhibition in gallery Galežnica end 2002. Evocational character of the matter transforms the painting surface into a suggestive field. In the tactile game of associations, from structure of the matter itself rise or disperse diagrams and traces. Leaving an imprint of time eroded walls and evocate a metaphorical picture of passing of time.

Moreover, Roberta’s works constitute researches of space and surface/plane, structure, matter, and material. These are abstract compositions of reduced coloring, summarized to approbation of patterns of monochrome surfaces, grey, black or white, they are close to minimalism, and they address void and surface as central figures, activating the relation between positive and negative. On the surface of the painting, layer closest to the observer, one can sense words or letters as the only reference to the world of externality, and which in subsequent elaborations and research loses its narrative character by becoming an unobtrusive symbol, and by adopting abstract character of the sign. During this sublimation process a shift is apparent, deep ponderation, which results with cumulative sense of easement of the structure, its purification and appeasement.

The new works are produced in the continuity of the author’s expression, certain form-content patterns, and visible close communication with the heritage of informell. In time we find revelations and researches of a technical nature. Alongside parts of text and letters, cuts, scratches, ruptures and gaps appear as peer elements. The author addresses them as one does a graphical matrix. These are all messages inserted in the matter and contribute its expressive power and re-evaluation of our comprehension of elementary world of matter. Without evocating objective signs and symbols by principle of tautology. By conceptualization of reduction and recurrence methods, in almost monotone repetitiveness rhythm and change are bought by minimal and discreet shifts which emphasize uniqueness of multi-layered structure of each individual work.
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Tomomichi Morifuji (arha) : Photography

Tomomichi Morifuji (arha) : Photography | Aesthetic Investigations | Scoop.it



When we are moved, when we feel, when reminded of something.

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Fernand Hick : Photography

Fernand Hick : Photography | Aesthetic Investigations | Scoop.it
“I am a very personal and original photographer, whose working-method aims to transfer in my images the feelings I experienced while shooting. I am above all an atmosphere photographer. My atmosphere captures results from a subtle mixture between fuzzy zones and perfectly sharp ones.” – Fernand Hick
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Sven Fennema : ‘Paris … the modern way’ (Photography)

Sven Fennema : ‘Paris … the modern way’ (Photography) | Aesthetic Investigations | Scoop.it
“This is a set from my few days trip to Paris in spring 2011. My focus here was just on the modern side of the city, besides one, all of the pictures are taken in the hypermodern quarter “La Défense” which was very amazing for me. Although I am usually a “colour guy” I decided to go for a classic b/w conversion in this series. I hope you like my view of the city!” – Sven Fennema
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Sebastien Canaud : Photography

Sebastien Canaud : Photography | Aesthetic Investigations | Scoop.it

“Simple moments, meeting according to my steps, immovable things which present life and sense in my photographic imagination.” Sebastien Canaud

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Yoonjin Jung : ‘Seeing the Unseen’ Series (Mixed Media)

Yoonjin Jung : ‘Seeing the Unseen’ Series (Mixed Media) | Aesthetic Investigations | Scoop.it
The main theme of Yoonjin’s work is ‘Seeing the Unseen’ which has been inspired by the emptiness in oriental painting. Her work explores the meaning of the empty space in oriental painting and the definition of invisibility in relation to the space. In fact some parts of her work seem unused. Yet they have been planned with as much care as the objects. What she wants to do in her work is to help the viewer to see the unseen and sense the invisible through both invisibility and visibility. Then the viewer is stimulated between the boundary of the invisibility and the visibility. – Yoonjin Jung : Artist Statement
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