Starting in February, Brisbane artist CJ Hendry embarked on an ambitious drawing project, the creation of 50 food drawings in 50 days, with a new piece posted to Instagram every 24 hours. Each black pen drawing of a photorealistic food set against the backdrop of an ornate French plate is rendered with a stunning grasp of shading and depth. You can scroll through the entire collection of photos here, and see some of her earlier large-scale drawings on Analogue/Digital.com.au. (via Boing Boing, The Cool Hunter)
This photo pretty much sums up the feelings of an entire city as nearly 6 inches of snow fell on Chicago late this weekend. Local photographer Patricia Jones happened to be shooting by Kapoor’s Cloud Gate as tourists were snapping their own photos when the sculpture suddenly attacked. Hilariously perfect timing. (via Reddit, Instagram)
Inspired in part by the classic horror literature of H.P. Lovecraft, artist Jim Kazanjian (previously) assembles foreboding buildings using snippets of photographs found in the Library of Congress archives. Equal parts secret lair, insane asylum, and the work of a deranged architect, Kazanjian’s collages are created from 50-70 separate photographs taken over the last century. Each piece takes nearly three months to complete as he painstakingly searches for just the right elements, a process he likens to “solving a puzzle, except in reverse.” From his artist statement:
I’ve chosen photography as a medium because of the cultural misunderstanding that it has a sort of built-in objectivity. This allows me to set up a visual tension within the work, to make it resonate and lure the viewer further inside. My current series is inspired by the classic horror literature of H.P. Lovecraft, Algernon Blackwood and similar authors. I am intrigued with the narrative archetypes these writers utilize to transform the commonplace into something sinister and foreboding. In my work, I prefer to use these devices as a means to generate entry points for the viewer. I’m interested in occupying a space where the mundane intersects the strange, and the familiar becomes alien. In a sense, I am attempting to render the sublime.
You can see much more of Kazanjian’s work on his website, and at Jennifer Kostuik Gallery in Vancouver later this year. (via Colossal Submissions)
Criss-crossing the world with stops on almost every continent, San Francisco-based photographer Beth Moon spent the last 14 years seeking out some of the largest, rarest, and oldest trees on Earth to capture with her camera. Moon develops her exhibition prints with a platinum/palladium process, an extremely labor-intensive and rare practice resulting in prints with tremendous tonal range that are durable enough to rival the longitivity of her subjects, potentially lasting thousands of years. Moon’s collected work of 60 duotone prints were recently published in a new book titled Ancient Trees: Portraits of Time. From Abbeville Press:
This handsome volume presents sixty of Moon’s finest tree portraits as full-page duotone plates. The pictured trees include the tangled, hollow-trunked yews—some more than a thousand years old—that grow in English churchyards; the baobabs of Madagascar, called “upside-down trees” because of the curious disproportion of their giant trunks and modest branches; and the fantastical dragon’s-blood trees, red-sapped and umbrella-shaped, that grow only on the island of Socotra, off the Horn of Africa.
Moon is currently working on a new series of trees photographed by starlight called Diamond Nights. (via Huffington Post)
Ben #1, 2014. Photo © Kevin Horan.
Sherlock #2, 2012. Ella #1, 2014. Photos © Kevin Horan.
Carl #1. Photos © Kevin Horan.
Xantippe #1. Lizzie #1. Photo © Kevin Horan.
Jake #1, 2012. Photo © Kevin Horan.
Sydney #3. Xenia #1. Photos © Kevin Horan.
Mr. Beasley #1, 2014. Photo © Kevin Horan.
Briede #1. Honey #3. Photos © Kevin Horan.
Honey #1, 2014. Photo © Kevin Horan.
When it comes to fancy studio portraits of pets, it’s no surprise people are willing to hire photographers for loving photos of their cats and dogs, we’ve even seen cameras thoughtfully trained on chickens and exotic snakes, but commercial photographer Kevin Horan decided it was high time for an artistically neglected group of barnyard animals to step into the spotlight: goats and sheep. In 2007, Horan moved from Chicago to Whidbey Island, Washington where he approached a neighbor about photographing one of his sheep. The neighbor agreed and his portrait series Chattel was born.
Lately, Horan photographs mostly sheep and goats from the New Moon Farm Goat Rescue in Arlington, WA, where he sets up a portable studio and works with assistants to achieve surprisingly emotive and humorous portraits that reveal the subtle personality of each animal. The wildly popular series was selected in Photolucida’s Critical Mass Top 50 for 2014, and one of the photos was acquired by the Santa Barbara Museum of Art. Prints are available upon request. (via Slate, PetaPixel)
Starting this month Verizon FiOS customers can get upload speeds every bit as fast as their download speeds. Since that means faster, easier sharing of high-res illustrations, designs, and photos, FiOS is sponsoring a series of posts on Colossal to help us commission and share these super hi-res animated GIFs from some of the most amazing artists we could find.
Art director and designer Kevin Weir uses historical black and white photographs forgotten to time as the basis for his quirky—and slightly disturbing—animated GIFs. His path to online GIF superstardom began when he was in high school. He tells us that “my parents’ boss bought me a copy of Photoshop and I decided I wanted to be some kind of designer.” Having mastered the software, he found himself five years later “making black and white GIFs as a way to occupy myself during the downtime of an internship I had during grad school.” He shared the images on his Tumblr, Flux Machine where they quickly went viral.
Weir makes use of photographs he finds in the Library of Congress online archive, and is deeply drawn to what he calls “unknowable places and persons,” images with little connection to present day that he can use as blank canvas for his weird ideas. Perhaps it’s the nature of his imagination, or maybe a result of the medium’s limited frames of animation to communicate anything too serious, but despite the creepiness factor, it’s hard to not to smile at the absurdity of his ideas.
Weir is now an art director at Droga5 in NYC, he also also animates music videos and sassy birds.