with found photographs
In his series Chronicle: Passing (6,393 Per Hour), artist Greg Sand creates analog super-edits of the repeated patterns found in old photographs. Drapery, flowers, shoes, shadows, hands, and faces are homed in on and grouped into enormous grids, representing the simultaneous enormity and specificity of human death. As the series’ title notes, approximately 6,393 people around the world die every hour. Each small black-and-white or sepia-toned image is from an ambiguous past era, though hairstyles and clothing offer clues to every individual’s specific moment in time.
Sand tells Colossal that the biggest challenge was collecting all the images he needed; he relied on eBay and local antique stores to source the thousands of old photographs. Using a half inch or one inch punch, Sand framed each visual element in a small square, and arranged them manually. “I was intrigued by the interactions of the various textures, values, and colors that developed,” Sand explains. “I found my eye bouncing around from light to dark, from matte to glossy, from bright to dull, from textured to smooth. The pieces became like pixelated masses from a distance that required getting very close to discover each image individually.”
Sand explains that he hopes the series sparks a reflection in the viewer on how memories fragment. Childhood recollections may focus on specific details like the clothing or gestures of a loved one. “Photographs function in a similar manner. They do not show a whole person or an entire life, but instead capture a single moment,” Sand says. “These keepsakes help determine some of the pieces of memory that stick with us.”
See the artist’s work in person at Momentum Gallery in Asheville, North Carolina in the exhibition Small Works | Big Impact, which opens November 14, 2019.
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Working with vintage photographs, artist Julie Cockburn (previously) re-energizes images that have been lost to time with colorful overlays. Cockburn adds tightly stitched orbs, swirling marbled enamel, and architectural structures as overlays to black-and-white or softly toned studio portraits, candid snaps, and landscape photos.
The London-based artist’s current solo exhibition, ‘Telling It Slant’, is on view through November 2, 2019 at Flowers Gallery‘s Kingsland Road location. Cockburn’s show title alludes to an Emily Dickinson poem called Tell all the Truth but Tell it Slant. In a statement, the gallery describes the artist’s work as “excavat[ing] authentic stories by circuitous means… Cockburn embarks on a visual journey to delicately reveal narrative histories and layered meanings in lost and discarded images. Cockburn partially obscures the images in a process she describes as ‘paradoxically unmasking’ their intrinsic truths.”
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Striped circles hover over vintage scenes of natural and built landscapes in embroidered interventions by Natalie Ciccoricco. Using colored threads that perfectly match the tones of the underlying images, Ciccoricco builds radial circles that act as multi-faceted color swatches. Each circle contains more than a dozen different hues of embroidery thread to pick up the nuanced colors present in the vintage images. In one photograph of a desert, the embroidered lines connect to light green cacti, blue sky, and a brown mountain. In another, the varied blue hues of water consume most of the image—and its corresponding circle—while thin black lines pick up the reflection of a boat’s hull.
Ciccoricco, who is Dutch and based in California, is represented by Zukowski Collective. When she is not crafting her embroidered images, she works as a freelance graphic designer and software language translation consultant. The artist shares her work on Instagram, and offers original artwork in her online store as well as some items on Society6.
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Patchwork Motifs and Knotted Thread by Francesca Colussi Cramer Add Texture to Vintage Photographs and Postcards
Italian artist Francesca Colussi Cramer started embroidering patterns and grids onto found photographs four years ago when she discovered a small vintage shop down the street from her house in North Wales. She was enthralled with the nostalgic feel of the store’s old images and postcards, and began adding thread to provide a visual and physical contrast to the original work. Some of her additions are abstract, like images which appear like patchwork quilts, while for others she makes more representational choices by layering the real life hues of a location or person in small bursts of color.
“Adding thread on paper alters an existing surface and creates such a rich texture and contrast with the original image itself,” Cramer tells Colossal. “It’s both visual and tactile, and doing it on paper, instead of fabric, comes with challenges and differences that I find more intriguing every day. It is a sort of conversation with the past in the images, like lifting a layer of dust and letting the color through, adding another chapter.”
Cramer still sources her photographs and postcards from the original shop that sparked the project, while also scouring a monthly vintage fair near her home and searching online on Ebay or Etsy. Cramer sells her embroideries on her online shop. You can view the process behind her works by following her on Instagram. (via Lustik)
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Poet and textile artist Miranda van Dijk prints found images onto delicate faux floral arrangements made from canvas, cotton, or voile. The vintage images are transferred onto the textile plants using a digital printing technique, and are either hidden in the curve of a petal or are displayed prominently on one of the plant’s leaves. These works are then imbedded in a natural environment, allowing her sculptures to blend into wildflower gardens and other lush scenes.
For her series Sensitive Survivors, van Dijk modeled her pieces on twelve different forms of weeds. “Before the idea came up, I was obsessed by weeds,” the Dutch artist tells Colossal. “I saw them everywhere. Between my tiles in the garden, the playground. I found them so strong yet so fragile at the same time.”
Recently van Dijk published a book titled Sensitive Survivors (written in Dutch) which presents poetic connections between her handmade plants and the individuals printed on their forms. You can buy select pieces from Miranda van Dijk from her Etsy store, and learn about about her work on her website and Instagram. (via Anna Marks)
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Russian artist and theater critic Masha Ivashintsova (1942-2000) lived a secret life as a photographer, taking over 30,000 photographs in her lifetime without ever showing a soul. It wasn’t until years after her death in 2000 that her daughter Asya Ivashintsova-Melkumyan stumbled upon her vast collection of negatives while cleaning out the attic. The photographs showcase an astounding look into the inner world of Ivashintsova, while also providing a glimpse of everyday life in Leningrad (now Saint Petersburg) from the 1960-1999.
Ivashintosova was heavily engaged in the city’s underground poetry and photography movement, yet never showed anyone her images, poetry, or personal writing during her lifetime. Ivashintsova-Melkumyan shares a quote from one of her mother’s diary entries that hints at the reasoning behind her hidden artistic life, “I loved without memory: is that not an epigraph to the book, which does not exist? I never had a memory for myself, but always for others.”
“I see my mother as a genius,” explains Ivashintsova-Melkumyan, “but she never saw herself as one—and never let anybody else see her for what she really was.”
Some have referred to Ivashintsova as the Russian Vivian Maier, an American photographer and caregiver whose extensive collection of negatives was discovered in Chicago after her death in 2009. A group of close family friends are working to scan the entirety of Ivashintsova’s life’s work. You can view more of her recently discovered images on this website and Instagram specifically created to share her legacy. (via PetaPixel)
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