Through a luxuriant series of embroideries, Litli Ulfur translates thick landscapes into lush entanglements of brown and green stitches. The abstract forms consider the intricacies of nature through an aerial perspective, contrasting micro- and macro-views in every inch. Each piece is created organically and uniquely, ensuring no two are alike.
The textured works are inspired by natural sources, like jungly forests and the human nervous system, that are reflected through French knots, tufts, and flat patches. “I was struck by certain similarities between the two—some of the trees in these forests (including oaks and beeches) were confusingly similar to the structure of human neurons. Their branches and roots bent in various directions creating a huge endless network,” she writes on Instagram about creating “The Inside.”
In a note to Colossal, Ulfur says her process begins with immersing herself in natural settings for a full sensory experience. “I celebrate this moment—being completely aware of it is crucial. I open myself up so I can consciously connect with it. I smell the scent, color. I feel the texture, experience the sound and taste,” she says. “Being alone with nature is really important to me. It gives me space to reflect on why I do what I do and feel what I feel.”
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Abandoned vehicles are swallowed by the surrounding forest in “Nature Takes Over,” a photo series by Thomas Strogalski. The German photographer, normally based in Düsseldorf, was on assignment in Maui, Hawaii for a client and found some spare time to pursue this personal project. “During my 5-week stay, I discovered striking irregularities within the lush, fascinating nature,” Strogalski tells Colossal. Old automobiles, from sedans and trucks to camper vans and R.V.s, the once-powerful machines have been subsumed beneath towering trees and twisting vines. “I am fascinated by the thought that in the end nature will take over man,” reflects Strogalski. “With peace, lasting continuity, flexibility in harmony with permanent adaptation, nature seems to reclaim what one wants to take away from it.” Explore more of the photographer’s professional and personal work on Behance and Instagram.
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A songbird soloist accompanied by choruses of toads, turtles, and hedgehogs are conducted by a squirrel in Maestro, a delightful new animated short by Illogic. Set in a moonlit forest, the wild symphony performs a war anthem from Vincenzo Bellini’s opera Norma. In an interview with Vimeo, the team explained that they sought to balance imaginativeness with believability within the confines of their realistic universe. Illogic is based in Montpellier, France, where they recently opened an animation studio called Bloom Pictures. Take a behind-the-scenes look at how Maestro was made in the video below, and see more from Illogic, including the Oscar-nominated Garden Party, on Vimeo.
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This summer, a new elevated circular bike path was built that winds through the Belgian forest about an hour outside of Brussels. ‘Cycling Through the Trees’ is part of the Limburg bike route, and works its way up to a height of 32 feet, placing riders inside the forest canopy. Unlike another recent circular tourist attraction, the bike path is not ticketed, and also offers riders places to sit and rest in nearby alcoves with benches. You can vicariously enjoy the ride through the video below. (via Web Urbanist)
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REWILD: A Short Film by Splash and Burn and ESCIF Chronicles Rainforest Restoration Efforts in Sumatra
To draw attention to the ecological devastation wrought by palm oil farming in Southeast Asia, the Splash and Burn project (previously) creates and documents large and small-scale art activations. The initiative’s most recent endeavor, titled REWILD and executed with Spanish artist ESCIF, involved carving a rewind symbol into a palm oil plantation in Sumatra, Indonesia, and creating a short film documenting the effort. ESCIF explains, “the idea of going back, of rewinding, is an invitation to reconnect with ourselves; to recover awareness and respect for the earth, which is the ecosystem of which we are a part.”
The land art intervention took place on an acquired plantation within a new forest restoration site made possible by the Sumatran Orangutan Society. After clearing the palms, diverse vegetation has been re-planted. In a release about the project, Splash and Burn explains that the restoration site is located on the borders of the Leuser Ecosystem, one of the most biodiverse places on earth. Sumatra’s forests—and the wildlife populations within—have shrunk by 40% in the past two decades, replaced by palm oil, paper pulp, and rubber plantations. Though not commonly known in the U.S. as a cooking oil, palm oil is the most widely consumed oil on the planet, found in everything from chocolate and instant noodles to lipstick and laundry detergent.
You can watch the trailer of REWILD below. It features an abstract soundscape by Indonesian composer Nursalim Yadi Anugerah. If you are interested in contributing, head to moretrees.info, and follow Splash and Burn (comprised of Ernest Zacharevic and Charlotte Pyatt) on Instagram.
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Situated in a clearing within an Italian forest, John Grade’s latest installation, Reservoir, appears like a chandelier glistening among the pine trees. Reservoir is featured in the Arte Sella Sculpture Park in Borgo Valsugana and is made up of five thousand clear droplets each of which is delicately attached to translucent nets, supported by tree trunks.
On designing Reservoir, Grade (previously) studied the Park’s ecosystem, carefully planning the installation in harmony with the surrounding landscape. “I became most interested in the way rain falls through this grove of trees, the canopy delaying the droplet’s journey to the ground as well as how quiet and sheltered the forest was during a heavy rain,” Grade tells Colossal. “I wanted to make a sculpture that responded to the rain directly as well as a sculpture that responded to people.”
Reservoir is constructed from heat-formed plastic parts framed with steam-bent strips of Alaskan yellow cedar. Each droplet is attached to marine nets with fishing line which are then incorporated with stainless steel rings to maintain tensions and support the tree trunks above the structure. The shape of the translucent droplets are formed from casts of human hands cupped together. “We cast ten different people’s hands for variations in scale,” Grade explains.
When rain falls or snow lands the water accumulates within Reservoir’s clear pouches, giving them their droplet-like shape. In doing slow, the installation gets heavier and lowers, while in sunny, warm weather, it rises back into its original structure as the liquid evaporates. “The sculpture rises and falls with precipitation differently each time it rains or snows,” says Grade. Springs below the installation limit the vertical range of movement, so Reservoir always remains 10 feet above the forest floor.
The dry sculpture in its original configuration weighs 70 pounds, but when filled with rainwater, it can exceed 800 pounds. Reservoir serves as a water resource for the surrounding landscape: when the water it holds evaporates, it creates a humid environment for the surrounding vegetation to flourish.
Movement also manipulates the structure of Reservoir, and, as part of the project, Arte Sella connected Grade with Andrea Rampazzo, a dance artist based in Italy. Rampazzo choreographed a performance, where four dancers would interact with the sculpture, making the installation rise and fall depending on their movements. “Each tree has a cable connecting the net to the ground running down its length via pulleys which can either engage the spring limiting its downward trajectory to 12 feet of movement or bypass the spring to a second pulley near the base of the tree at waist height,” Grade explains. “This way the dancers can pull or release any of the nine lines to create varied movement in the sculpture.”
Occurring during one day of festivities, the dance lasted 45 minutes and was performed three times during the day. “The four dancers also had the assistance of four members of my studio team to help work the lines during the performance,” says Grade. Due to more control over Reservoir, the dancers brought the sculpture down to two feet from the ground, so their bodies were fully immersed in the thousands of droplet-like forms. “Because we were lucky to have rainfall, the dancers were able to abruptly jerk the movements and shower themselves with water,” Grade explains. “Now we can watch the sculpture collect and release and move over the seasons and build upon those nuances to create a second installation. Wind may become a significant inspiration the next time.”
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