On my way to run some errands the other day I drove down a road that had obviously been driven on while the striping had still been fresh because the white on one side suddenly started weaving all over the road. It was interesting because one, I continuously like to think about tracing pathways and two, it fascinated me to think of who it was that drove over the fresh paint and why they couldn’t seem to keep a straight line. A getaway vehical perhaps?
It reminded me of a recent post earlier this month from Abitare regarding some bikers who decided to throw a several gallons of colorful paint at the entrances to the intersection at the busy Rosenthaler Platz in Berlin. The cars then would drive through these massive puddles of color and make lines with their tires through the intersection that would trace their movement as they went on their way. While this doesn’t trace the total movement of cars, it makes for a pretty intersection piece at least that helps to gain a feel for the specific traffic intersections and flow.
This reminds me of a previous post on active paths and desire lines which referenced a little invention for the bicycle called the Contrail. The idea behind this invention is to have a device that stays with the bike to map out it’s path in real time versus being place specific and requiring the user to pass through. Instead the Contrail helps to map the path instead of the space.
What I think would be really interesting is to map out vehicular, bicycle and pedestrian in a manner like the Contrail in a way that could be stored as data but seen visually, even if only online, to help understand how the different modes interact, where problem areas are and where it looks and feels as though the three work together harmoniously. That and it would be really nifty to look at.
Tara Donovan, installation artist out of Brooklyn, New York, creates pieces made out of everyday ordinary objects like drinking straws, cups, fishing wire and paper. These simple objects when are then transformed into amazing textural and topographical works of art. The individual object then is almost no longer recognizable in it’s original form but has taken on a new life form. The installation in the image above feels like some sort of life form bubbling out of the ceiling, reflecting light in different ways throughout the form. But the piece is made simply with a sea of styrofoam cups and hot glue. A detail shot is below.
Below are images of an untitled piece from 2003 that uses paper plates held together by hot glue to form highly texture spheres the look almost soft and fuzzy from a distance.
“Haze” was made in 2005 from stacking an amazing amount of clear drinking straw to create a sensual wall that bubbles up in places that gives it an almost liquid look.
The following piece uses ripped up tarpaper that has been stacked into an undulating landform titled “Transplanted”. It was firt exhibited outdoors in the IBM Exhibition Space on 57th and Madison Ave. in New York City in the fall of 2003. Following it’s time in the outdoors, it was moved into the Ace Gallery indoor exhibition space.
Amsterdam-based photographer Cassander Eeftinck Schattenkerk has created a series titled The Andromeda Strain that focuses more on the notion of discovery than the place itself. The images conjure up thoughts of a space or time perhaps untouched or undiscovered by humans. I personally found some of the imagery, shapes, patterns and colors to be incredibly intriguing and thought provoking. Words from the artist about this series, via featureshoot:
After making many landscape photographs I realized the search for special places is more important than the place itself. The notion of discovery has been always intimately linked to photography. The cliche of the photographer as an explorer of unknown and rough places became a starting point to construct images. I played with the “National Geographic:-language essentially without leaving my hometown. I searched for locations that, after small interventions, can fit in an imaginary travelogue. Using low-budget special effects and lighting I staged natural phenomena and imagery. To this work made on location I added still-lives constructed in the studio. Referring to nature and scientific photography, the tabletop landscapes create confusion on the overall status of the series. I often choose material that has a perishable or unpredictable quality, like foam or spaghetti. No Photoshop is used to achieve the effects. The artificial and the real, and the different sources the image is based on, should be present simultaneously.
