& sounds of woodworms

Woodworms I, Zimoun 2009 from ZIMOUN VIDEO ARCHIVE on Vimeo.


vimeo.com/

& Pestival

not great photos...:/

& visual system

http://www.likecool.com/The_Punch_Camera--Design--Gear.html

& Brian Dettmer ..again

Of all things, how did Dettmer come up with bones as his subject matter? He’d already been contemplating the end of cassette tapes as media format when one day he spied a dead bird on the street and thought “here was this thing that used to live, it used to fly around and play a vital role, and now it is dead and all that remains is the solid material.” The analogy between analog media and skeletons was pretty easy to link up and before Brian knew it, he was creating a series of 12 human skulls out of tapes.

inhabitots.comktfineart.com

&Enrico Castellani

Saw the work of this artist whilst visiting the Haunch of Venison exhibition at the end of summer 

3D relief using nails and painted canvas

& Margaret Anderton

Projects
Current Work
Photography project which is a narrative of the fabric of urban life emphasising personal and private spaces.

Ongoing Projects
Transient Memorials which explores the relatively new phenomenon of placing flowers at the site of death and not the site of burial.

Ordinary Fear concerns photographs of familiar outdoor objects with accompanying text inviting the spectator to reconsider first impressions.

Language is a Place, Braille

Language is a Place, Morsecode

 

Coloured Nail Polish on White Board.

 

Language is a Place, Semaphor

re-title.com

& Studio Glithero

A BRIEF MOMENT OF HAPPINESS (2009) is a collection of ceramic objects with surfaces captured by blueprinting.
In a dark room, vases are impregnated with light sensitive chemicals before being kept in light sealed boxes. Like rolls of photographic film, the vases are poised and reactive, ready for the moment we choose to develop them on a rotating spit. By exposing to a UV light, the chemicals develop from clear to vivid Prussian blue, fixing to surface of the vase and leaving an negative of the flowers strapped to the surface like a photographic image. Over one hour, the process slowly captures and immortalises the flowers, a lasting impression of the fleeting life of a cut flower.
Studio Glithero are developing this project with the support of the Vauxhall Collective.

studioglithero.com/

& Rowan Mersh

The essence of my work lies primarily within the complete understanding of a fabric or material. From understanding a textile’s inherent characteristics, from their structure and the way they are knitted, woven or formed, to the yarns used in their construction, an intuitive sense is able to develop. It is this affinity with the cloth that informs possible capabilities and potential for manipulation, and subsequently my creations.

A collaborative project with Sarah Van Gameren. Conceived as a giant time piece, 100 000 match sticks where aligned like domino's and set ablaze. Lit at 12 noon the piece burnt for 12 hours, the time could be told by the kinetic movement of the flame.

Fabric Sculpture

 

Formed

Future Landscapes

 A series of wall based canvases (90cm x 90cm) created utilizing a self-developed technique to permanently form any given fabric into any given shape, conceived as an architectural vision of the future.

Wood

Drawn from the notion of ‘perfection’, seeming faultless spherical wooden sculptures constructed from tooth picks and barbeque skews, were designed with a tumor or growth within the base mold resulting in a geometrically erroneous finish.

rowanmersh.com/

& Sarah van Gameren

       sarahvangameren.com/  

                                                                                                                                                                                         

  Burn Burn Burn is the documentation of a performance with a special kind of paint; a flammable paint similar to the colored tip on the end of a matchstick.

When applied, dried and lit, the flame slowly moves forward. It moves over the floor, table legs and chairs where it leaves behind a pitch-black trace, a picture frame burned into the wall and charcoal roses.

In the beginning there was my own family tree.

My mother gave me one part of it. For years the scraps of paper had been pressed between the pages of an old photograph album.
The other part I received from my grandparents. With the help of some old documents and photographs they tried to recall the names of their nephews and nieces, uncles and aunts.

I wondered if my genealogical research would solve some mysteries. Is the nature of my being a result of the various branches of my family tree that ultimately come together in my own being?
Is the source of our potential in life hidden behind the leaves of this tree? Can my tree tell me how far my talent reaches?
After I completed my own family tree, I stitched all the names of my ancestors on a handkerchief, blew my nose, and that was that.

Then there is Runa, 17 years old. A beautiful and smart girl with many talents. She gave me her genealogical tree to research and in return I made her a necklace. The collier is inspired on the ‘name-jewel’ that girls of her age tend to wear. The piece of jewelry I made for her has every single name of her family members. From her ancestors on her breast to her close family embracing her neck. She wears the collier like a genetic palette.

dezeen.com/