Fallow Journal

  • Particles Series | Lee Griggs

    Particles | Lee Griggs

    Particles | Lee Griggs

    Lee Griggs is a 3D artist hailing from Madrid, Spain. Lee's series 'Particles' contains 100,000,000 particles that have been rendered using
    Arnold renderer. Each image is created using an in camera technique. Lee continues to explore his love affair
    with the renderer with each series he meticulously brings into being. Particles is a violent yet delicate
    collection of images that convey intricate textures and movement.

    Art meets Engineering

    Lee Griggs works for and with an advance rendering software, Arnold. Arnold is used to aid in the creation of stunning imagery,
    animation and visual effects for films, television and artist. Generative art and 3D art are making an impact on the art world.
    Artists can create new worlds never thought imaginable. This can be seen within Lee's body of work.

    Particles Lee Griggs Fallow

    Words | A.Wright

  • The Sea In The Sea | Tang Nannan

    TANG NANNAN THE SEA IN THE SEA

    The Sea in the Sea | Tang Nannan

    Tang Nannan's The Sea in the Sea first came to be when he was planning a solo exhibition in April 2013. He imagined the sea levels he drew as horizontal lines unfurling and unfolding one after another in front of him. Suddenly the boundless and awe inspiring waves crashed out towards him from every side, with a thunder of sound.This visual was the catalyst to his work The Sea in The Sea.

    Inspiration | Zhuangzi

    One year after Tang was overcome with his inner visual he read a quote by Zhuangzi, "The Great of the South China Sea called Shu, and the Great of the North Sea called Hu, and the central Great called Chaos." In that moment he was transported back to the huge waves that engulfed him in the exhibition hall. A sudden realisation came upon Nannan and he knew that he had to transform himself from an observer of the ocean and into a part of it.

    Energy

    Tang Nannan saw to seeking out a new way of thinking about his art. He abandoned his sight and used his body and mind to feel the invisible energy, chaos and serenity of the ocean. Using brush and ink in an unconventional way while still following the masters words of advice; "to seek not the appearance of things but their essence."

    Tang says "at the time of primeval chaos, I float in the vast mist, with the initial mind of me"

    TANG NANNAN THE SEA IN THE SEA

    TANG NANNAN THE SEA IN THE SEA

    TANG NANNAN THE SEA IN THE SEA

    TANG NANNAN THE SEA IN THE SEA

    Words | A.Wright

  • Europe | Danil Rusanov

    Europe | Danil Rusanov

    Danil Rusanov's Europe is a series of dark and mesmerizing images created by the Russian artist,
    Danil's medium of choice is digital art and motion graphics.
    His works use stark white light on black to draw the viewers eye to a central point.
    Rusanov transports us to another world, a world very different to the one we think we know.

    Perception

    Rusanov believes that perception is personal opinion. His images invites the audience to reflect, offering several forms of personal perception.
    He says "The image is forming an idea, using sensible and logical tools. The idea is being formed when a viewer gives the image permission to do so."

    Danil Rusanov Europe

    Danil Rusanov Europe

    Danil Rusanov Europe

  • Alana Wilson

    On the beauty of decay | Kathyrn Carter

    There’s something lovely about the brokenness. It’s as though attention has been paid to the ruining—a thoughtful and considered destruction of a something that could have been perfect. Each blemish questioning all preconceived notions of what beauty really is.

    Such is the work of Alana Wilson, a ceramicist whose intentions stray from aesthetic idealism towards anthropological exploration. Born in Canberra, Wilson spent much of her childhood in New Zealand, before moving to Sydney at seventeen to study fine art. Today, from a studio overlooking Tamarama Beach, the artist creates vessels that reference historic utilitarian forms, working to a style that she describes as raw, still, subtle, and experimental.

    I am constantly working between the balance of raw and refined, primitive and contemporary, completion and decay. Aesthetically, I think the textural qualities and physical presence are first and foremost in what I seek in my own work.

    The thought of clay often conjures images of seamless silhouettes—shapely urns, spherical bowls; cylinder vases. But Wilson’s pieces belong to a chapter of ceramics history that is yet to be written. There’s an unapologetic rawness to the work, an imperfectness that invites you to feel deeper into the present moment. In a world where flawlessness is so often perceived as the aesthetic ideal, Wilson’s process aims to highlight the innate impermanence of everything; the beauty of decay.

    In 2011, trend forecaster Lidewij Edelkoort announced the dawn of the post fossil era, stating that the period of glamorous and streamlined design for design’s sake had come to an end. Moving forward, a new generation of artists were expected to retrace their roots, refine their earth and research their history, sometimes returning to the beginning of time. Edelkoort’s forecast predicted that primitive matter and organic shapes would soon tiptoe into the zeitgeist; a reflection of man’s longing for a more meaningful and ritualistic relationship with the earth. Though Wilson admits she had not heard of this theory, she does feel a connection to the ideology at its core.

    I think this [post fossil movement] is definitely a sign of the times, and has evolved from the evidential progress within the Western World in the last 15-20 years - within technology, commerce, and sociology…I feel at the moment there are numerous aspects of society in need of and appreciating the opposing points of this growth - physicality, reality, and human connection, both current and historical.

    In a way, Wilson’s work satiates this appetite for connection. Her vessels appear deliberately decayed; their flawed finishes a subtle reminder of life’s impermanence, of our own mortality. When asked why she so often returns to this idea of delicate deterioration, Wilson admits that, more than anything, it’s about the acceptance of change.

    I think throughout my life I have learnt to accept and embrace the sense of change, which is essentially what deterioration and decay is. "He not busy being born is busy dying.” I aim to embed this value into my work…

    For Wilson, it’s about bringing awareness back to the present moment, reminding us of the importance of humanity; the tender balance between order and disorder—notions that are strongly reflected in the artist’s process. From conceptualisation to creation, Wilson’s work remains a paced and considered progression, with pieces born from her experimentations with glazes, material and form.

    My number one tools are my hands and body, the artist tells me, …beyond that I have a few favourite wooden knives, scalpels, and Japanese glazing brushes.

    Anchoring this experimental approach is clear philosophical intent; a strong resolve that is attune to Wilson’s own sense of artistic obligation. As Wilson’s career has evolved, so has her awareness of how much she contributes to our consumerist culture, and to its perpetual cycle of production.

    The world does not need more "stuff", and I often feel an obligation to counteract the world of material commerce and highlight humanity and connection to the past and present moment. It is a constant balancing act to create without promoting commercialism or idolisation of material objects.

    Consequent to this theoretical process, to view the artist’s work is to be confronted by more than just something to consume, but rather, something to consider. In a world largely intoxicated by perfection, and amid the relentless striving for material possession, Wilson invites us to take a sobering pause, to ruminate on the beauty of decay.

    Words | Kathryn Carter

    @bykathryncarter

  • Mask House | WOJR

    Mask House | WOJR

    Mask House was designed by WOJR not only to be a home but to be a refuge for a man who mourns the loss of his brother. The design is set to hide un-intrusively amongst the woods of Northern New York. It will overlook the lake in which his brother was lost. WOJR has said that they wanted to create a sanctuary to be "a place of separation and protection that removes one from the world of the everyday and offers passage to an other world".

    WOJR

    Massachusetts-based firm, WOJR is a collective of designers who consider architecture to be a form of cultural production. Their work reaches out across the globe and engages the realms of art, architecture and urbanism. WOJR isn't just about building four walls but about creating something that conjures up feelings by the spaces that surround you. This rings most true for Mask House.

    Words | A.Wright

  • Wrench Series | Mitchell Lonas

    Wrench Series | Mitchell Lonas

    Mitchell Lonas' Wrench Series is a collection of intricate carved paintings of delicate bird nests. Mitchell's works float upon a dark background giving the illusion of suspension. Each painting is created on a steel or aluminum panel and then carved using different sharp tools; from nails, chisels and dental tools. This technic allows Lonas to give a sense of light, texture and rhythm to these poetic images. Mitchell uses found nests given to him by his mother as inspiration for each creation. The nests are made from fine horse hair which is beautifully captured in his work.

    Nature | Nurture

    Mitchell attributes his current style of work to his upbringing in Tennessee. He tries to capture the nature he was surrounded by in his hometown and the warmth and kindness of his mother in his art. Before Mitchell transitioned into his current style he studied art history at the University of Tennessee in Knoxville and for many a year he was a well respected portrait painter. Lonas now lives and practices in a studio space in North Carolina where he never stops experimenting and developing his unique body of work.

    Sentiments

    “The most powerful art is a conversation between the artist and the viewer, but some artists don’t let the viewer get a word in edgewise. Mitchell’s work, on the other hand, invites the viewer to participate in the exchange of ideas and emotions.”

    - Jack Austin

    Words | A.Wright

  • Even After All | Nicholas K Feldmeyer

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    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.

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    Words | A.Wright

  • Absent Vessel | Andy Mattern

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    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.

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    Words | A.Wright

  • Lucid | Tarek Mawad | Friedrich van Schoor

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    LUCID

    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.

     Film

    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...

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    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

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