Friday, 27 November 2015
Thursday, 26 November 2015
A good sketchbook is a wonderful thing, with its containment of thoughts either related or jumbled, gathered in one document. Sketchbooks are lived in and have the patina of use, sweat and toil on the pages, split coffee and tears of frustration.
A textile sketchbook seems to take this human touch even further with it scraps of fabric, clothing, bedding, buttons, stitch and jewels, it has a visual tactility that is compelling. These examples are the work of Brazilian artist Marina Godoy.
Saturday, 21 November 2015
Wednesday, 18 November 2015
Sunday, 15 November 2015
Yesterday 'Silver' Nanine Linning's new production premiered at Theater Heidelberg with costumes by Bart Hess.
'Silver' addresses the intimate and increasingly intrusive relationship between the human and the technological, showing its potential for future developments, but also questioning its promise of ever increasing progress and self-improvement. Nanine Linning
Thursday, 12 November 2015
Irina Dzhus's Sprng /Summer 2016 Dzhus collection is as usual wonderful and unique with it's complex but clean lines and plain fabrics. Irina has been working with concepts relating to the structural features of medical clothing in this collection.
Friday, 6 November 2015
Thursday, 5 November 2015
“Anna & Eve” is a long-term narrative project that I started to work on in 2005. This project (as well as most of my work) dwells in between fantasy and documentary. Even though, all the scenes are staged, they reveal a real relationship of a mother and her daughter. Anna and Eve were particularly interesting to me, when I first met them in 2005, because the boundary between the child and the adult woman was blurred to an unusually high degree. Anna – the mother seemed at times more of a child than her 4 year-old daughter – Eve. It was often hard to tell who held the power and control between the two, and who was learning the essence of being a human in this world.
I was always interested in folk tales as a representation of common knowledge, and their influence on children’s perception of good and bad, and of morality. Therefore, in the beginning of the series I often applied to my photographs a frame of a myth or a folk tale. These photographs are not based on particular tales; rather, they are new myths that represent through phantasmagoric scenes my interpretation of the real relationship of this mother and daughter. Victoria Sorochinski