Photographer Zack Seckler's latest series took him 2,000 miles through South Africa, each piece shot from the passenger seat of a two-seater sport plane. The works feature animal tracks and shadows as compositional elements, capturing herds of flamingos, gemsbok, and even a solo turtle resting in the dazzling blue water.
“From elevations between 50 and 500 feet, the landscape hovers on the line between things looking very real and recognizable and being more abstract,” said Seckler. “That’s what really draws me in—the line between reality and abstraction.”
Seckler’s aerial photographs will be exhibited in a solo show of his work titled Zack Seckler: South Africa at ClampArt in New York City opening April 13. You can see more of his work (including this series of horse portraits) on his Instagram and Facebook, and a behind-the-scenes video of the week-long journey below. (via Colossal Submissions)
Turkish digital artist and photographer Aydin Büyüktas continues his dizzying landscape series Flatland with this new collection of collages shot in various locations around the United States including Texas, Arizona, New Mexico, and California. Each image requires around 18-20 aerial drone shots which are then stitched together digitally to form sweeping landscapes that curl upward without a visible horizon. As we’ve noted before, Büyüktas found inspiration in a century-old satirical novel titled Flatland about a two-dimensional world inhabited by geometric figures. You can see more from the series on his Facebook page.
Scottish painter Andrew McIntosh (aka Mackie) takes ubiquitous structures often abandoned on rural homesteads like travel campers or sheds and reveals hidden worlds within: radiant sunsets and expansive skies that appear like portals into another place. Drawing inspiration from a childhood spent in the Highlands of Scotland, the London-based painter gives unexpected life to derelict buildings set against the backdrop of mist-filled woods and frozen mountains. From his artist statement:
My paintings are an exercise in attraction. Through them I am constantly searching for new ways of communicating with the viewer. By seducing them with my imagery, I try to create a new visual language with the power to pique their attention and make them stop to ask: why? Desolate landscapes, decrepit houses, and incongruous moments of glory come together to suggest the presence of a narrative that exists as much in the viewer’s mind as in the painting. This is how I aim to use my works: as the space for an imaginary dialogue between strangers.
McIntosh most recently exhibited a new body of work with bo.lee gallery last month titled “Where we Belong” at Pulse Miami. You can see many more recent paintings in his online portfolio. (via The Jealous Curator)
Alexei Lyapunov and Lena Ehrlich are the two members of People Too, an illustrative team from Novosibirsk, Russia that draws elaborate scenes on pieces of sheet music. The colorful works capture both pastoral and urban landscapes, detailing vignettes of people fishing, dancing, and commuting. Musical notations from the songs are often incorporated into the illustrations—notes becoming steps, hills, or trunks of trees.
You can purchase the pair’s altered sheet music on Society6, as well as see a greater breadth of their illustrative portfolio on Behance. (via Lustik)
As part of his project La Línea Roja, Paris-based photographer Nicolas Rivals constructed bright red light configurations installed outdoors while on a trip through Spain. Each temporary piece was captured in a series of long-exposure shots that reveal an unusual juxtaposition between fabricated objects and the natural world. You can see more from the series on his website and Instagram—and if you liked this also check out James Nizam, Barry Underwood, and this short film from 3hund.
Stemming from a past of ambitious collecting, photographer Christoffer Relander utilizes mason jars as vessels to capture the environments that surrounded him during his childhood in Finland. The project, Jarred & Displaced, utilizes double exposures shot on medium format film to combine pristine images of jars with black and white landscapes, collecting scenes shot within forests, neighborhoods, and on top of steep ridges. Each of the images is completely analog as Relander decided to eschew all digital processes for the series.
“With analog multiple exposures I’m able to manipulate my photographs in-camera,” said Relander to Colossal, “this project was not created or manipulated in an external software such as Photoshop.”
The wooded landscapes captured in his photographs are mostly from the countryside in the south of Finland, an environment Relander missed and wished to revisit as an adult. You can see a behind-the-scenes look at Relander exploring these scenes in a short film directed by Anders Lönnfeldt below. (via PetaPixel)