白

................................................白


...........................................................本是空無一物，純淨無他的一種空間狀態。


....................................它純潔，純淨，清澄，沒有摻雜的。


........................................................................就像當初開始define us一樣


.....................................................................年輕的我們

.........................................什麼都沒有

...........................................................猶如這背景

...........................................一張白色的廢紙

........................................................................................沒有一絲點綴


.................................................它或許什麼都不是

.............................................................卻隱含無限的可能


.....................................你找不到東西能去代表它

....................................................................它卻可以用自己去代表一切


..............................慢慢地

..............................................我們就能在平凡中看出不平凡

..............................................................在有限中找到無限


...............................................這就是我們眼中的白

...............................................................................................這就是define us

Anni Leppälä

 Statement of Artist

My interest towards photography is closely related to time in the past tense, to the possibility of being able to make a moment motionless, to make something stand still. That something has existed, and has now been set in static state. There is a certain aspect of lost moments and a feeling of letting go when looking at photographs. They exist at the intersection of the momentary and the constant, between the fleeting feeling of being alive and consciousness of the moments passing by.

 In my pictures, attempts in recognising and lighting of obscure and vague movements, are made visible. I want to approach the momentariness of living through constancy. The paradox is that when you try to conserve or protect a moment by stopping it, by photographing it, you inevitably lose it at the same time. I am interested in exploring these contradictions and borderlines between things, how distance relates to closeness. Symbolic meanings are essential in my works. I am interested in how the concrete surface of reality and photographs relate to metaphorical things that can be found underneath. I try to trace those kinds of occasions of seeing when words dissolve and scatter apart, objects and incidents intensify into symbolic language, silent information and intuitive interpretation. What fills the room behind the picture, allows one to step closer. Thoughts of incompleteness and insecurity are also important to my works. Objects and spaces can occur to be like transparent routes between the inside and the outside, between the seen surface and unconscious content. Museums and miniature rooms become entrances to each other. Balance and its fragility, delicacy are present simultaneously. How to stop a feeling, a memory? By binding it to visible objects, facades of material things, attaching it to a room’s walls, the surface of photographs. Like translucent skin with unforeseen memories beneath.

Daniel Kukla

Daniel Kukla, a native of Indianapolis, Indiana, currently resides in Brooklyn, New York where he works as a fine art photographer.

Here is what he say about his "The edge effect" collection, 

In March of 2012, I was awarded an artist's residency by the United States National Park Service in southern California’s Joshua Tree National Park. While staying in the Park, I spent much of my time visiting the borderlands of the park and the areas where the low Sonoran desert meets the high Mojave desert. 

While hiking and driving, I caught glimpses of the border space created by the meeting of distinct ecosystems in juxtaposition, referred to as the Edge Effect in the ecological sciences.

To document this unique confluence of terrains, I hiked out a large mirror and painter’s easel into the wilderness and captured opposing elements within the environment. 

Using a single visual plane, this series of images unifies the play of temporal phenomena, contrasts of color and texture, and natural interactions of the environment itself."

大自然的美

是唯一不需要文字去解釋的藝術

Isabelle Wenzel

Isabelle Wenzel is a Holland-based German artist. 
In her pictures, 
she tries to explore the relations between photographers and their models. 
"femininity versus masculinity".  
It delivers the sense of disorder within a limited pictorial space.

宇宙正在膨脹，

空間卻在縮小，

時間停在靜止，

擺弄肢體的瞬間，是身體，是擬態，

直搗日子裡的莫名，見證牽扯與跌撞。

The universe is expanding,

yet spaces are shrinking.

Time stops at stillness during a moment of changing movements.

Bodies, postures, press forward to the nonsense of everyday life,

and witness our entanglements and stumbles.

雖然現在的照片利用了很多服裝道具場景去加強感染力，
不過，
相比起以前初拍的照片，
我更喜歡當初的『純粹』。

The XX - Chained
Taken from their latest album Co-exist

Directed by Young Replicant,
The video was made in conjunction with The Creators Project, a partnership between Intel and Vice.

I'm in Hong Kong

已經十月了

天氣漸漸有點涼意

當然

在烈日當空的底下

還是很熱的

我走在街上的時候

看見了"電車"

是這樣叫它嗎對吧

雖然一直住在香港

可是對於住在新界的我來說

其實很陌生

就當我用相機拍照的時候

身邊人卻回了一句

"你第一次來香港嗎?"

Stella McCartney Spring 2013

其實

時裝

不一定要

"誇張華麗"

"硬朗型格"

"解構重組"

先叫好時裝好設計

不要用一眼便否定一件設計的價值

Spring Summer 2013 collection

最吸引我的不是

hedi slimane 的 saint laurent paris

亦不是

Raf simons 的 christian dior

讓我眼前一亮的

反而是今季的stella mccartney

乾淨俐落

細緻的設計

讓我第一眼便很喜歡

The Rain Room

Stand in the middle of the rain without getting wet

Installation by Hannes Kock and Florian Ortkrass and Briton Stuart Wood

known as Random International, former Royal College of Art graduates

As visitors step up on to the stage, these identical vertical lines of driving rain begin to be repelled, as if each body is giving off a kind of invisible magnetic field. As you step further in, the rain closes around you, enveloping each silhouetted figure in a perfect cylindrical void. It is a startlingly surreal experience.

The apparently simple trick is the result of a lengthy period of development, which came out of playing with large-format printing.

"We started three years ago, testing temporary 'printing' with water, spraying droplets from above, like a long-distance ink-jet printer," says Florian Ortkrass, who founded Random International with fellow Royal College of Art design graduates Stuart Wood and Hannes Koch in 2005.

"But we became much more interested in how people would react to the piece," he explains. "It's the same with all of our work: it doesn't make sense without anyone there."

Their first piece involving participation was Audience (2008), a disconcerting field of mirrors that eerily turned to follow visitors as they walked between them, making the viewer both the active agent and subject of the piece. Two years later, their Swarm installation translated the collective behaviour of a flock of birds into moving light. The sound of visitors stimulated the "collective consciousness" of a network of suspended LEDs, causing dynamic waves of light to ripple through the space.

The group treats each project as part of an ongoing process of research into the relationship between people and new intelligent technologies, and has been working with the cognitive scientist Philip Barnard to analyse people's behaviour.

"The best bit is watching what people do," says Ortkrass. "It's either totally crazy, or utterly banal, but never what we're expecting."

Behind the magic of each piece is a highly refined piece of technology. The Rain Room is controlled by a series of cameras that 3D-map the location of bodies on the plinth, translating this to a pixelated grid of 25cm x 25cm panels, each of which controls nine outlets – and a total of 2,500 litres of water, falling at a rate of 1,000 litres per minute, which is filtered, treated and recycled.

extract from The Guardian 

and you can see how it works here in the video

The exhibition in The Curve at the Barbican, in north London, opens on 4th Oct 2012 and runs until March next year.

這令我聯想起

倫敦的雨就像花灑一樣

難怪在這裡很多人都不打傘

有時我覺得像花灑的雨也很可愛

不像香港的滂沱大雨

經常給人麻煩 討厭的感覺

那有設計中的''抗雨" 能力也不錯 !

Laurent Chehere

He is a Parisian photographer and traveler born in 1972.

 "Flying Houses" is the images of ordinary urban and suburban residents floating in the skies, which inspired by the forgotten homes in Paris. Combining his love of architecture and exploration, it not only urges the viewer to readdress the obscure beauty of urban houses, but also  think of the transitory experience of being lifted away from your permanent residence.

 

 

 

 

 

 

 

  www.laurentchehere.com/  


雖然兩者沒有關係
我還是第一眼便想起這一套電影
尤其是屋子被氣球帶上天的這一幕
當時我是很感動的
不是為了什麼
而是為了那不顧一切對現實的抗爭和夢想的追求
那是多麼的不真實
這才是卡通片最珍貴的地方