During his past two decades as a photographer, Daniel Beltrá has photographed landscapes in all seven continents, exploring equally the beauty and tragedy found in nature across the globe. Beltrá works mostly in the air, providing the viewer with the expansive scale of what he encounters while perched inside an airplane or helicopter such as the Deepwater Horizon oil spill which he captured over the span of two months.
Other locations the Spanish photographer has traveled to included the Brazilian Amazon, the Arctic, the Southern Oceans, and the Patagonian ice fields. Beltrá was drawn to each of these locations due to the complexity of nature found at each. He explains in his artist statement that the “fragility of our ecosystems is a continuous thread throughout my work. My photographs show the vast scale of transformation our world is under from human-made stresses.”
Beltrá hopes that his unique aerial perspective and subject matter instill an understanding of how we are directly affecting the environment around us and at the edges of the globe. Many of his images from locations in Iceland and Greenland were recently included in his solo exhibition “Ice/Green Lands” at Catherine Edelman Gallery in Chicago that closed on March 5, 2016. The photographer also recently published a collection of his images from the 2010 BP oil spill in his book SPILL. You can see more of his expansive landscape photography on his Instagram and Facebook. (via Ignant)
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Doubling as an artist and ocean advocate, Courtney Mattison (previously) produces large-scale ceramic installations that draw attention to conservation of our planet’s seas. Her latest installation “Aqueduct” showcases hundreds of porcelain sea creatures including anemones, sponges, and coral sprouting from a porcelain air duct. The piece asks us to imagine the plight of these undersea creatures as tropical sea temperatures begin to rise, asking where they might migrate to once their homes have been rendered uninhabitable.
In addition to large-scale installations, Mattison also sculpts more intimate vignettes. Her series “Hope Spots” depicts areas in our seas that are critical to the overall health of the ecosystem. Each of the sculptures is a representation of one of these spots as identified by Mattison’s longtime hero and marine biologist Dr. Sylvia Earle.
The Denver-based artist studied marine ecology and ceramics at Skidmore College and received a Master of Arts degree in environmental studies from Brown University. Last year she was named one of the top 100 “Ocean Heroes” by Origin Magazine. Her most recent exhibition is “Sea Change” currently at the Virginia Museum of Contemporary Art through April 17, 2016. You can see more of Mattison’s finished and in-progress installations on her Instagram.
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When European settlers arrived throughout the 18th and 19th centuries and rapidly expanded their territory across North America, the prevalent belief was that of Manifest Destiny. Specifically, that American settlers were destined to expand throughout the continent by any means necessary regardless of cost, environmental impact, or the devastating harm to Native American populations. The artwork of the period, primarily sweeping landscapes influenced by the European pastoral tradition, did well to capture the pristine beauty of the previously undocumented continent, but completely glossed over the reality of what was really happening.
In her log paintings, artist Alison Moritsugu faces that strange juxtaposition head-on by choosing a literal metaphor—the remains of downed trees—as a canvas for her bucolic oil paintings of the countryside where that very tree may have once originated. A fantastic collision of art history and environmental awareness. The rough edges of the cut branches and trunks appear like windows into the past, telling a story that the tree’s rings alone cannot. She shares via her artist statement:
Painters throughout art history from the Northern Song, Baroque, Rococo and Hudson River School tailored their depictions of nature to serve an artistic narrative. Today, photoshopped images of verdant forests and unspoiled beaches invite us to vacation and sightsee, providing a false sense of assurance that the wilderness will always exist. By exploring idealized views of nature, my work acknowledges our more complex and precarious relationship with the environment.
It should be noted that Moritsugu uses salvaged log segments from naturally fallen trees, or trees that would otherwise be turned into mulch. You can see a collection of new work starting November 12th at Littlejohn Contemporary in New York. (via My Modern Met)
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Bird Portraits Painted On Secondhand Books Featuring Their Native Brazilian Habitats Carved from the Pages
Guy Laramée‘s (previously) new series Onde Elles Moran (Where They Live) captures the mystique of the native birds of the Brazilian region Serra do Corvo Branco (Range of the White Raven) through both portrait and carved landscape. The series contains nine sculptures sourced from secondhand bookstores within the country—tomes of the Classicos Jackson which is a series of literature classics published in the ‘50s in Brazil. The rich linen covers inspired the palettes of many of the portraits, the original colors working their way into Laramée’s artistic remodeling.
Although Laramée had originally planned to photograph the vast canyons of the region during his 4-month visit, the diversity, songs, and liveliness of the native birds kept persuading him to eclipse the beautiful scenes with their portraits. The series is dedicated to these birds and their habitat, each book containing a portrait of one on the cover against a faded background and an environmental carving into the pages of the book on the opposite side. The size ratio of the bird to corresponding landscape highlights the creatures’ importance, acknowledging their role as the true owners and rulers of the region.
“Being in the company of these lively beings were one thing, painting them was another story,” explained Laramée while discussing his process. “They became like ghosts on a theater backdrop, posing in front of wallpaper, looking at a vanishing scenery.”
Laramée hopes that this series exudes the stark differences between Man and bird, recognizing that we do not live within the same world. Man’s world has been transformed into an object from which we now feel alienated he explains—we live within our heads and books, not the canyons or earth. “Maybe where they live is where we should live,” says Laramée. “In the solitude of virgin landscapes, we might rediscover our intimate relationships to the world.”
Laramée is represented by JHB Gallery in New York City.
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Working along a single stretch of coastline in Sian Ka’an, Mexico’s largest federally-protected reserve, artist Alejandro Duran collects countless bits of trash that washes up from locations around the world. So far he’s discovered plastic debris from dozens of countries on this shore of the Caribbean coast which he utilizes for site site-specific installations for an ongoing project titled Washed Up. By creating aesthetically pleasing landscapes from a disheartening medium, it’s Duran’s hope to create a harsh juxtaposition that draws attention to the global catastrophe of ocean pollution. He shares in a statement about Washed Up:
Over the course of this project, I have identified plastic waste from fifty nations on six continents that have washed ashore along the coast of Sian Ka’an. I have used this international debris to create color-based, site-specific sculptures. Conflating the hand of man and nature, at times I distribute the objects the way the waves would; at other times, the plastic takes on the shape of algae, roots, rivers, or fruit, reflecting the infiltration of plastics into the natural environment.
More than creating a surreal or fantastical landscape, these installations mirror the reality of our current environmental predicament. The resulting photo series depicts a new form of colonization by consumerism, where even undeveloped land is not safe from the far-reaching impact of our disposable culture.
Duran just received the Juror’s Award from CENTER for his efforts, and has upcoming exhibitions at Habana Outpost in Brooklyn and at the XO KI’IN Retreat Center. (via This Isn’t Happiness, LENSCRATCH)
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Built in the late 1880s, Holland Island House was the last surviving structure on an rapidly eroding island in the Chesapeake Bay. The island’s inhabitants were forced from the island in the 1920s, but this one Victorian structure stood for decades as the land around it disappeared. After numerous attempts to save it, the house finally collapsed into the ocean in October of 2010.
In her stop-motion short The Ballad of Holland Island House, animator Lynn Tomlinson shares the story of the house through an innovative clay-on-glass animation technique. Every single frame was painted by hand with clay and photographed, a medium that lends itself perfectly to depicting ocean currents, memory, and the passage of time. Music by Anna & Elizabeth.
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Editor's Picks: Design
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