The 2011 Christchurch earthquake was the largest natural disaster in New Zealand’s history, claiming the lives of 181 people and leaving behind nearly $30 billion in rebuilding costs. Touched by the events of that February day, photographer Fabrice Wittner set out to confront the destruction the best way he knew how: by making art. His Enlightened Souls project utilizes large, human-sized stencils that are painted with light during long exposures, creating thin portraits that appear almost like holograms. Many more images and process shots can be seen here. Images courtesy the artist. (via behance)
choreography drawing ephemeral flying stencils Wabi Sabi wind
If there’s a single thing that keeps me working in design, it’s that moment when you look at something for the first time and it simply takes your breath away. That’s exactly what happened when I saw these beautiful Wind Paintings from artist Bob Verschueren. Verschueren worked in the 1970s and 80s using wind to create these stunning landscape pieces. Each work would focus on a material like iron oxide, yellow ochre or burnt umber, which was then laid out in linear patterns on the land. Verschueren would let the wind move and blow the pigments around and create an altered version of the shape that represented the stunning collaboration between man and nature. Though these pieces were created years ago, Tom at I Love Belgium is celebrating them on his fantastic blog and was kind enough to send them my way. Click here to check out more of Verschueren’s work online; it’s the sort of artwork that makes me want to throw this laptop aside and run outside. xo, grace
Michael Sirianni :: Slow Burn.
Sara and I have been following the work of Sten and Lex in Italy for many years. We’ absolutel love their latest body of work, created for their current solo show at the CO2 GALLERY in Rome.
They call this recent series “Poster Stencils” because, in essence, they are both stencils and posters at the same time. The video above shows their process of pasting up the matrix of the stencil, cut on paper, on a panel of wood as a poster. They then paint on the matrix in black and when it all all dry they destroy the matrix, letting some parts of the matrix stay pasted to the wood. In this manner the stencil is not reproducible and the matrix “dies” in the work itself.
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