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Art

Rugged Multi-Color Paintings by Dylan Gebbia-Richards Mirror the Textures of Molten Rock

August 10, 2018

Anna Marks

Credit: Wes Magyar

Credit: Wes Magyar

Breathtakingly colorful textures pop out when viewers first witness Dylan Gebbia-Richards’s large-scale paintings which appear to escape from their canvas. His rugged works mirror the structure of natural forms such as molten rock or coral. “I see my works as their own landscapes,” Gebbia-Richards tells Colossal. “I allow chance, the driving force behind all natural phenomena, to sculpt the structures of my paintings.”

Gebbia-Richards gains his inspiration from the vastness of the natural world and his artworks explore aesthetics that merge between the microscopic and macroscopic. “I find the enormity of the natural world awe-inspiring,” he esplains. “Landscapes which are immense seem intimate simultaneously; counter-intuitively these large spaces create the feeling of an embrace.”

Credit: Dylan Gebbia-Richards

Credit: Thomas Meyers

Credit: Thomas Meyers

While Gebbia-Richards’ paintings vary in size, all are built to engulf the viewer. “Sometimes this is very literal like in my room-sized installations which encompass those inside,” he says. “But even with my smaller pieces, I’m looking for the work to expand outwards, attempting to generate the feeling of a place which is much larger.” Like observing a mountain range, the scale of his paintings inspire and delight, while his use of a bold color palette adds a hint of magic to each creation.

Credit: Stephen Ironside

Credit: Stephen Ironside

Credit: Dylan Gebbia-Richards

The artist’s works appear as if they have been created through a volcanic eruption. To imitate this process, he constructs his paintings by using colored pigment and droplets of melted wax. “I initially found dripping and splattering melting wax very satisfying,” says Gebbia-Richards. “I was interested in the qualities of the marks the melted wax produced, specifically the chaotic patterns of the splatters which sprung from the drip’s impact with the paper I was melting over.”

His paintings emerge by separating the dripping marks from their splatter. It is these random interactions between the various pigments, drip gestures, and the splatter which creates Gebbia-Richards’s layered textures that are signature to his practice. You can see one of the Colorado artist’s paintings at Looking For U at Unit London which runs until August 26, 2018. To view more of his work visit his website and Instagram.

Credit: Thomas Meyers

Credit: Steven Ironside

Credit: Danielle Webster

Credit: Thomas Meyers

 

 



Animation

A Mt. Everest Time-Lapse Combines a Decade of Himalayan Explorations

June 8, 2018

Kate Sierzputowski

Adventurer and filmmaker Elia Saikaly has attempted to scale Mt. Everest seven times. Twice he has reached the mountain’s summit, while other times he has survived avalanches, an earthquake, and other life-affirming events during his climbs. Saikaly’s latest short film is a combination of footage from a decade worth of trips to Mt. Everest and the Himalayas. The collected time-lapse videos explore several aspects of the climb, from shots of lights inside the small tents pitched for frigid nights, to brilliant star formations and unexpected waves of cloud cover. You can discover more about his adventures, and the making of this video in particular, via his blog and Instagram. (via Vimeo Staff Picks)

 

 

 



Art

A Mountain of Nesting Heads at the Foot of the Alps by Andrea Casciu

October 3, 2017

Christopher Jobson

Artist Andrea Casciu just finished work on this crisp new mural of nesting blue heads titled “The Soul of the Mountain” in Pinerolo, Italy as part of the Street Alps festival. He says the work is a metaphor of sorts that represents our relationship to the mountains through various “realities” we each encounter there. You can follow more of his work on Instagram. (via StreetArtNews)

 

 



Art

A Ring of Fire Blazes in the Middle of the Swiss Alps

February 14, 2017

Kate Sierzputowski

All photos © Stefan Altenburger, 2017

Burning brightly amidst the snowcapped mountains of the Swiss Alps is Douglas Gordon and Morgane Tschiember’s fiery installation As close as you can for as long as it lasts. The temporary piece of blazing land art was produced for the biennial event Elevation 1049, a collection of 11 sculpture, performance, video and sound installations supported by the LUMA Foundation and situated within Gstaad, Switzerland.

The piece is a sculptural and performance-based tale of the lonely traveler, as well as a call and response between the two artists involved in the piece. Tschiember built the circular fire, and as a reaction to her landscape meditation, Gordon installed a sound piece. The howling work is meant to trigger primal fears of dangerous animals and the dark woods, drawing visitors closer to the warm fire.

As close as you can for as long as it lasts is on view as a part of Elevation 1049 through March 19, 2017. (via Designboom)

 

 

 



Photography

Clouds, Rivers, and Mountains Converge in Breathtaking Landscapes of Guilin, China

May 25, 2016

Christopher Jobson

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Perched high atop the city of Guilin, China, photographer Kyon.J had an extraordinary view of the Li River as it winds through an unusually steep mountainscape. Early in the morning the area is often filled with fog or haze trapped in the mountains, certainly a dream scenario for any landscape photographer. You can see more of Kyon.J’s work in her portfolio where she also shares equally impressive photos of her native Japan.

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Art

New Snowcapped Mountains and Swirling Vortexes Excavated from Vintage Books by Guy Laramée

March 8, 2016

Kate Sierzputowski

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“V” (2015) Carved book, inks, pigments, wax. 11,5 x 9 x 5 inches. Photo Alain Lefort.

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“V” (2015) Carved book, inks, pigments, wax. 11,5 x 9 x 5 inches. Photo Alain Lefort.

Continuing to amaze us with his elaborate dictionary and encyclopedia carvings, Guy Laramée‘s (previously here and here) newest works feature deep caverns and valleys that retreat hundreds of pages down into his excavated books. One in particular, “V,” appears like a snowcapped vortex circling down into an endless pit. Viewing this piece, or any of his mountainous works, it’s hard to imagine that their material is stacked and sandblasted paper, the sheets presented more like layers of earth than printed definitions.

Laramée chooses to carve into sources of reference as a conceptual nod to the erosion of cultures, a theme that has pervaded the last 25 years of his practice. “Cultures emerge, become obsolete, and are replaced by new ones,” Laramée’s artist statement explains. “With the vanishing of cultures, some people are displaced and destroyed. We are currently told that the paper book is bound to die. The library, as a place, is finished. One might ask, so what?”

His works attempt to showcase how increasing knowledge might actually be an erosion rather than accumulation by altering these previous beacons of information. They are now integrated into our digital systems, and their husks transformed into mountains and valleys.

You can see more of Laramée’s carved and painted books at JHB Gallery in New York City and Foster/White Gallery in Seattle.

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“V” (2015) Carved book, inks, pigments, wax. 11,5 x 9 x 5 inches. Photo Alain Lefort.

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“V” (2015) Carved book, inks, pigments, wax. 11,5 x 9 x 5 inches. Photo Alain Lefort.

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“Irazu” (2015) Carved book, inks, pigments, wax. 11,5 x 9 x 5 (h) inches. Photo Alain Lefort.

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“Irazu” (2015) Carved book, inks, pigments, wax. 11,5 x 9 x 5 (h) inches. Photo Alain Lefort.

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“Le Début” (2016) Carved book, inks, pigments, wax. 12 x 9 x 5 (h) inches. Photo Alain Lefort.

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“Le Début” (2016) Carved book, inks, pigments, wax. 12 x 9 x 5 (h) inches. Photo Alain Lefort.

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“DESERT OF UNKNOWING” (2016) Carved books, inks, pigments. 39 x 11,5 x 5 inches. Photo Alain Lefort

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“DESERT OF UNKNOWING” (2016) Carved books, inks, pigments. 39 x 11,5 x 5 inches. Photo Alain Lefort

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“DESERT OF UNKNOWING” (2016) Carved books, inks, pigments. 39 x 11,5 x 5 inches. Photo Alain Lefort

 

 



Design

A Picturesque Mountaintop Skywalk in the Czech Republic with a 330 Foot Slide Down

January 4, 2016

Kate Sierzputowski

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All images by Jakub Skokan, Martin Tůma / BoysPlayNice

Extended over a cliff nearly 3,600 feet above sea level rests the Dolni Morava Sky Walk, a looping structure that allows visitors the opportunity to peek their heads into the clouds. Extending like an old-fashioned roller coaster from the Králický Sněžník mountain in the Czech Republic, the architectural destination features panoramic views of the Morava river and Krkonoše Mountains.

Produced by Fránek Architects, the wood and steel walkway was designed to blend into the existing environment rather than upset the appearance of its natural surroundings. With a subtle slope and wide pathway, the structure also accommodates those in wheelchairs and strollers who want to explore the top.

Unlike glass-bottom feats of architecture like China’s Haohan Qiao bridge and Chicago’s Willis Tower, the Sky Walk features a far more terrifying mesh floor that allows brave visitors to lay at the peak of the structure. In addition to this daredevil net, the walkway also features a 330 foot slide within its core, a streamlined metal chute that’s nearly 18 stories tall. You can read more about the Sky Walk’s concept on Frànek Architects’ site here. (via Dezeen)

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