Babu Eshwar Prasad, ‘The skin of the Earth’.
The work looks at the formal qualities of
soil, its textures, and the kind of
sedimentation that occurs over time, as
well as speaking of it metaphorically as the
soil 'bearing witness'.
Prasad’s preoccupation with soil can be
linked to his concern with the impact of
industrialisation and related social,
economic, ecological and ethical dilemmas
they pose anthropologically. India’s postindependence development strategies are
leaving tell-tale signs on the soil and this is
the theme of Fast Forward to Zero, a short
film that the artist made in 2011.
Ana Mendieta, Silueta, 1976
The silueta (silhouette) was a series of artwoks made by Ana Mendieta in which she left an
‘imprint’ of her body in snow, mud, sand, grass etc. These were transient ephemeral
artworks, at their creation a performance piece, then recorded photographically.
Artist Richard Long is known for his Land-Art, often photographing tracks made by repeated
use, or arranging natural materials within the landscape and then photographing them.
Art & Ecology
Christine Odlund: Atlantis
The effects of global warming has led man to seek
refuge under water. The earth is covered in mould
and fungi due to global warming. Extreme weather
has forced man to take refuge under the sea surface.
Wupong Clan: It’s like this
A post-everything zone. The quintessence of white
puddles in wasteland and and the mystical meaning of
a rat-man. it’s like this. takes on the industrial
wasteland, replacing the lost nature with artificial
Manu Luksch: Make it snow…
Simon Woolham: 3 films
A short meditation on winter landscapes, snow
cannons, and holism. A (very) short meditation on
the manipulation of winter landscapes for tourism
that points to their fragility and recalls the need for
a holistic perspective.
The three short animations, Severed, a landscape in
peril, coughing up its own blood, The Deracinater, a
tree trying to communicate and uproot itself and
The Isle, a whole landscape under threat, heighten
the human impact and presence on our landscape,
both social or ecological.
Koo Bohnchang ‘Oceans and Rivers’
Your choice of
paper to print on
can give the
illusion of ripples.
Invert the tones for dramatic effect.
Sophie Calle ‘Voir La Mer’ (‘To see the Sea’)
Sophie Calle met people in Turkey who, despite living close to the coast, had
never seen the sea. These films show the first time they look at the ocean.
They were asked to turn around and face the camera when they were ready.
Emotions range from elation to bitter tears.
Could you record memories regarding the sea and accompany these with
images that evoke the feeling your subject had at the time? Could you
accompany the images and stories with sound?
Clip (in French)
cascades of digital
compression, Data Waterfall
is a sublime, sound-reactive
film. “Data Waterfall
represents an element of
nature by using digital
methods,” explains Rodgers.
is an artist who
with a macro
‘Sparkly White Lines’
“I floated this image in the canal for a
week. It's a photograph of the place
where I floated it. The water peeled away
the layers of emulsion within the
transparency to reveal the different
colours embedded in the film.”
“I filled a bucket with water
from the pond, and dipped
my underwater camera into
this pond water prior to
making portraits of the
Dudelange residents. Later
on I also dipped the prints
into the pond itself, so
microscopic life was also
transferred onto the surface
of the paper.”
Dodge and Burn- Darkroom Photograms
Ryan Hopkinson (again)
Five pages for the latest issue of USED magazine incorporating an 8ft thermo-chromic tree
made from hundreds of specially treated leaves that Lauren had made for an installation. We
shot the tree changing colour as the fire crept up the installation and through its demise as it
combusted into flames.
Sarah Pickering took
pictures of “burn units,” setdressed interiors set on fire
to educate forensic teams
and crime scene
investigators. The blazes in
these photographs provoke
an immediate adrenaline
response. More interesting,
however, is the carefully
orchestrated clutter of the
“To burn pictures, a way of fisically erase a memory by burning it, so with time, the
image that is burnt will disappear from your memory.”
Manitoba, Up in Flames
Manitoba, Up in Flames II
“In the series “Scan”, I am exploiting the limitations of my scanner in order to
introduce intentional glitches into the process. Much like darkroom techniques like
burning and dodging, or the placement of objects directly onto the photographic
paper's surface to create photograms, each exposure represents a choreographed
movement, a moment in time captured on a two-dimensional surface.”