Fallow Journal

  • Even After All | Nicholas K Feldmeyer


    Even After All | Nicholas K Feldmeyer

    Even After All echoes Nicholas K Feldmeyer's previous series After All. Both works invoke romantic imagery of awe-inspiring nature and monumental land art. The images are created using 3D computer software. In After All a rectangular slice of light is injected into a landscape. In Even After All Feldmeyer wanted the viewer to feel as though they are standing inside a gigantic room and looking out.

    Nicholas K Feldmeyer

    The work of London-based artist Nicholas Feldmeyer is a fusion of structure in chaos, working mostly within a geometric and monochromatic confine. Feldmeyer captures unseen landscapes in his topography, exploring the arrangement of natural and artificial physical features. This can be best seen in this series.

    Inspirations | Hiroshi Sugimoto

    Even After All is greatly inspired by iconic Japanese photographer Hiroshi Sugimoto's works. Drawing on Sugimoto's cinematic style of timelessness. Capturing vastness and simplicity. Nicholas states that Sugimoto's ideas for his work seem simple yet profound which no doubt can be seen in Feldmeyer's work as well.




    Words | A.Wright

  • Absent Vessel | Andy Mattern


    Absent Vessel | Andy Mattern

    Andy Mattern's works "Absent Vessels" are a series of photograms of crushed polystyrene cups found discarded in the street. These vessels were flatted and transformed into empty, fragile shapes. Each urban relic has been individually pressed up against photography paper in a darkroom and exposed to light. The light purposefully passes through each object, imprinting the textures from both sides and merging the two together into a new surface.

    Andy Mattern

    Andy Mattern is a visual artist who is currently teaching Photography and Digital Media at Oklahoma State University in Stillwater. Andy uses subjects often overlooked, observing the connections between people and the harsh city environment. Mattern's works delve into the relics left behind unconsciously by humans in public spaces. He does not focus his work on people but rather the traces we leave in our wake.






    Words | A.Wright

  • Lucid | Tarek Mawad | Friedrich van Schoor



    The idea behind LUCID was to create a surreal world. Misplaced geometric shapes cast from light that seemingly do not belong yet interact and blend with its surroundings. The shapes emphasize the forms onto which they are cast in the most simple of ways. Untouched landscapes are transformed by electroluminescent light. A single light source tells an unspoken story of magic and loneliness.

    The intention was to summarize all installations in a cinematographic way to create a touching short film.

    Tarek Mawad | Friedrich van Schoor

    Tarek Mawad and Friedrich van Schoor who form the 3hund collective are two German visual artist. Both gentleman share the same unwavering passion for nature, exploration and dark melancholic images. The fine line between beauty, darkness and loneliness is the cornerstone of each new project the duo produce. Friedrich and Tarek strongly believe in creating each installation in real time. Nothing is added to their works post-production which adds to the beauty of their art.


    The intention of the short film is to summarise all of Tarek Mawad and Friedrich van Schoor's installations into a cinematographic spectical that can be viewed here...







    Words | A.Wright

  • Fish Radiography

    The Artistry of Fish Radiography

    At times, science is an artform unto itself. So it is for a series of x-rays of fish by the Smithsonian Maritime Museum that have allowed scientists to build a comprehensive narrative of the diversity of fish. Tracing the changes in number of vertebrae, fin position and countless other variations, the striking sequence dives through to the depths of fish evolution. Compiled by the Smithsonian Institute in Ichthyo - The Architecture Of Fish, it is a stunning compendium of science and art.

    The Scientific Method

    X-ray images allow the study of fish anatomy without dissection or alteration of the specimen. Radiographs may be prepared for any number of any species, so allowing a researcher to compare various features both intra- and inter-species. Images are designed to follow scientific convention, not artistic flair. There is always one specimen per frame, and the fish is always facing to the left. A beam of x-rays is generated and focused on the specimen. As tissue density determines absorption of x-rays, the bones of the specimen materialise most readily, creating the images. Characteristics of the species can then be readily seen, assessed and compared. Relative size and shape of bones and fins, the presence or absence of teeth, biological elements are tabulated and archived.

    Art From Science, Philosophy From Art

    From these images, the beauty, intricacy and diversity of the patterns of nature become self-evident. It is a natural union between science and art. The metaphysical element of evolution emerges from the arranged sequence, the sublime artistry of constant adaptation through mutation. One abstracts to the general nature of biology - of the continuous change, of the possibilities of the future, the direct line of ancestors - it is a sombre thought. One realises their position in the great chain of life, as an infinitesimal yet influential piece of the greatest whole.

    Words | Rob Woodgate

  • The Collapse Of Cohesion | Levi van Veluw

    The Collapse Of Cohesion

    A series of charcoal drawings and two installations, Levi van Veluw's Collapse Of Cohesion took from the artist's boyhood bedroom. Each image was a careful composition of drawing studies and the thematic synthesis. Disintegrating his previous works of control and structure, Van Veluw disrupted the order, shifting to a world of chaos. A human world. A world of collapsed desks, fallen cupboards and fragmented cabinets marked the moment of destruction. Yet it is this destruction that births the new, the form of life post-childhood. In so doing, van Veluw was just as interested, at the age of twenty-one, at the events that had lead him to his position in the universe. It was as much a questioning of gravity's effect on his life as on the objects that surrounded him.

    The Many Sides Of Levi van Veluw

    Born in 1985, van Veluw has created a vast body of work that spans the forms of photography, video, sculpture, drawing and multiple media installation. His work often draws its thematic and narrative focuses from elements of his own life and experiences. The Collapse Of Cohesion extended this method to an instant of time, centring on the obsessive and melancholic struggle of regulated chaos. Van Veluw had extrapolated from his own life to all lives to the fundamental in his desire to understand the maelstrom of the universe and the compulsion of quietude.

    The Inherent Equilibrium Of Disorder

    The forces of nature - gravity, radiation, heat, light - affect the multitude of humanity and structures. It is this fundamental principle that interested van Veluw as he constructed a new, natural, order of the structures. A consistent logic, that of physics, bound the images within a resting equilibrium, satisfying both the need for a framework and the fascination of the anarchic.

    Words | Rob Woodgate

  • Circles Round' Itself | Diana Mangaser

    Circle Round Itself

    Based in Newburgh, New York, Diana Mangaser has a Masters of Architecture from Rhode Island School of Design and a Sheridan Teaching Certificate from Brown University. Her work, Circle Round' Itself, draws on the inherent distances between the design and construction of architectural structures. This constructed circle becomes Mangaser's representation of the proclamations of what is, and is not, architecture. A circle that from afar appears an impenetrable and inert wall yet upon close inspection teems with the life of ambiguity and creativity.

    The Collapse And Expansion Of Space

    Slowing the aspect of time to negotiate the created representation of space, Mangaser captured the transformations of negativity to positivity, from black to white. Each image creates an apparition, an image association for each individual viewer. The image of cellular life, a geometric pattern, the whole of the cosmos. The infinitude of interpretations extended from the relationship of design and construction to the experiences of the viewer. Distance was the method but the scope was two-fold, exposing space at both the macro and microscopic. So, Circle Round' Itself was simultaneously a fragment of the world, in all its detailed minutia, and an entirely new world.

    Parallel Worlds

    Questions emerge from Mangaser's video concerning the nature of space. Mangaser's work so requires an investment from the viewer in the creation of its larger expression. The parallel worlds of the macroscopic and microscope collapse into a single image, removing the line between them. So, the line between design and construction is removed. Each architectural structure is to be experienced separately and regarded independently. Each object creates its own space and has its own relationship between its design and construction. So the circle becomes an infinitely-sided polygon, cataloging the complete possibilities of architecture and the inter-relationship between these points.

    Words | Rob Woodgate

  • The Shadow Line | Michal Korta

    michal korta the shadow line

    The Shadow Line | Michal Korta

    Polish photographer Michal Korta's series The Shadow Line begun when he discovered a weathered animal skull while on a walk. After photographing the skull Michal began delving into the nature of animal instinct and mortality. The sub-series Naked Bone are a set of detailed black and white images of skulls against a harsh black backdrop which illuminates every crack and curve. Korta uses skulls found by himself or gifted to him by friends, preferring his subjects to have flaws and remnants of their past environment. Michal's series is a stark look at death and reminds the viewer that we too are just animals, made up of bone.

    michal korta the shadow line

    Words | A.Wright

  • Miniature Monumental | Kendall Buster


    Kendall Buster | Miniature Monumental

    Exhibited around the world, Kendall Buster is a sculptor and artist. Her work Miniature Monumental is an ongoing project that revisits the methods of model making and architecture from a biological perspective. In her work, Buster has created an inventory of architectural phenotypes that have emerged from the simple planar models.

    Protection and Confinement

    Miniature Monumental is a return to Buster’s interest in the abstraction of sculpture, architectural design and the meeting point of the two. Her  models are emblematic of observation towers and watching posts and inexitable mazes and death pits. The structures of Miniature Monumental simultaneously evoke a sense of safety and imprisonment. Kendall Buster’s work corresponds to the psychological aspect of architecture, its relationship with the viewer, its ability to control and change the dynamics of an individual’s mind as well as represent the inherent system of power between those inside and those outside.

    Biological Architecture

    Buster’s synthesis of architectural form and the application of those forms has created an inherent eroticism. The erotic nature of the miniatures has emerged from the combination of shapes - this penetrates, they embrace, that contains. Buster considers the work endless, a never to be completed assembly patchwork quilt of structures. Each model is a growth on the landscape that is at once both a distinct from and connected with the other structures. Kendall Buster’s models are a continual exploration of these growths and their mutations, of the infinite combinations of architectural phenotypes. The interconnected nature of the overall work is mirrored by the relationship between the model and its monument. The change in effect and viewer’s affect caused by the reduction in size, the question of what elements remain, the distillation of the emotion of architecture. Kendall’s work, Miniature Monumental, forces each viewer to question the architecture of their surroundings and its impact on the psyches of themselves and others.




    Words | Rob Woodgate

  • The Sea | John Virtue


    John Virtue | The Sea

    Specialising in monochrome landscapes, John Virtue, the Norfolk-based painter, has captured the ephemeral in his work, The Sea. These work draw on Virtue’s time at Blakeney Point capturing his stretch of coast each week. From this point, Virtue had an uninterrupted view of the salt marshes, the shingle beaches and the sea stretching out to the horizon. Virtue represents this in his work with its sheer scale and his bold, expansive handling of the paint.


    King Cnut, John Virtue and the Waves

    An apocryphal anecdote, King Cnut is said to have set his throne by the sea shore and commanded the tide to halt. The tide did not and dashed over Cnut’s feet and robes, without respect. The king leapt backwards and spoke to his courtiers, ‘There is only one worthy of the name of King, and it is but He whom heaven, earth and sea obey.’ Virtue’s work, The Sea is an expression of this nature. They are beautifully chaotic images of salt and foam. Each painting is based in a single instant, the waves breaking faster than the hand can sketch and it is this quality that mesmerised the artist; the state of simultaneously being everything and nothing.


    The Sea and Zen

    Since he was a child John Virtue has been fascinated by Zen calligraphy, the expression of mobility and the completely uncensored subconscious. Each instant of watching the sea impacts the viewer, and it is this construction and deconstruction of the waves that, to John Virtue, combines the traditions of the Western gaze and the Eastern glance. These works are less about verisimilitude than about the expression and attribution of character to both the sea and the artist. The viewer sees the painting as a part of the artist’s psyche and John Virtue aims to freely express what it is he sees, and feels, when he stares at the sea.




    Words | Rob Woodgate


    “For last year's words belong to last year's language

    And next year's words await another voice.

    And to make an end is to make a beginning.” 

    ― T.S.Eliot

    Fathom and Fray | Caleb Charland

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