Embroidered photo original art for this Sunday's Diary. Explore abstract, vintage and floral findings on this amazing art form, enjoy!
Discarded photographs from yesteryear are given new life in the photographic project ‘Single Image Processing’ by Japanese artist, Kensuke Koike. In the stacks of weathered old photographs, worn albums and bundles of vintage postcards so often found at flea markets, Koike finds inspiration for a different kind of photographic practice. Using a scalpel, Koike meticulously crafts […]
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In a New York loft 50 years ago, poet, photographer and film-maker Ira Cohen hung reflective Mylar film on hinged boards, walls and ceiling, and invited visitors – including William Burroughs and Jimi Hendrix – to explore an experimental space
“But can we write something that leave each of us stained, Forever. Not with the ink, but with love sink.” - Srushti Gamit
Tatiana Lopez’s lush cyanotype portraits of Sapara women portray the intertwined connections between dreams, body, and nature.
Berlin-based photographer and creative Urizen Freaza is no stranger to different visual mediums. He aims to communicate with his audience with thread, chemicals, emulsion lifts, and more.
Véronique Nichanian picks three of her favourite pieces from the past collections, discusses the timeless allure of the French brand and sets out what luxury means to her in 2016
Li Chevalier（Shī Lán 诗蓝 Chinese/French, b.1961） experimental ink painting via
Distorted Body After much exploration into different ways of distorting the human figure, I decided to simply stick to the use and movability of the body itself. With a slow shutter speed and simp…
Explore Sammy Slabbinck's 351 photos on Flickr!
Georges Maciunas /Fluxus When an artist named George Maciunas looked up the word "flux" in the dictionary in 1960, he found seventeen definitions. "Flux" can be used as a verb, an adjective, or a noun. The multiplicity of the word made it the perfect term for the art movement he was in the proces
An accomplished photographer by the age of eight, this Bostonian visionary invented a kaleidoscopic mirror to take ‘vortographs’, took some of the most innovative images of the early 20th century – then gave it all up to focus on being a freemason
About The Artwork Perception can be driven by the use of light. Our self-perception can't be defined as just one, as it constantly changes and adapts. Movement creates transformations, and I tried to record it. Images created using an UV light and long exposures with a digital camera. Transferred on transparent film and then printed with cyanotype. Original Created:2021 Subjects:Portrait Materials:Paper Styles:ContemporarySurrealism Mediums:CyanotypeDigital Details & Dimensions Photography:Cyanotype on Paper Artist Produced Limited Edition of:12 Size:14.8 W x 21 H x 0.1 D in Frame:Not Framed Ready to Hang:No Packaging:Ships in a Box Shipping & Returns Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments. Handling:Ships in a box. Artists are responsible for packaging and adhering to Saatchi Art’s packaging guidelines. Ships From:Italy. Customs:Shipments from Italy may experience delays due to country's regulations for exporting valuable artworks. Have additional questions? Please visit our help section or contact us.
By utilising light as make up, Hussein Chalayan along with Nick Knight captures the surreal side of fashion. via A Blog curated by
Li Hui is a self-taught photographer from Hangzhou, China. Her work focuses on intimate explorations of youth and nature, and the interactions that occur between...
John and I had a fun day in the studio recently. We both wanted to do a bit of experimental mark-making, to explore new ideas. John is looking for inspiration for his printmaking and I thought it would be interesting to play with marks and compositions which could be the starting points of new drawings or which might possible translate into textiles. We gathered lots of tools and then made a few new ones, looking for anything which would make an unusual mark if dipped in paint: We decided to stick to black and white, so we could concentrate on marks and tone. I mixed up a tub of black acrylic and got out some Platignum Calligraphers Black Ink too (a good non-waterproof ink, as it separates into pretty colours when wet, rather than just going grey). I found an oil bar and some liquin too, which is great for smearing not just oil bars but also oil pastels. Plus a Derwent Inktense block and grater (tiny gratings can be scattered onto wet paper or sprayed with water for speckled effects). We both put on latex gloves and set-to on a big piece of cartridge paper each. It was such fun - no pressure to make something which 'works', just pure experimentation. This was my first sheet: I am particularly interested in randomness, so many of the new tools we made were designed to make the marks more hard to control. To add to the random element, we both cut up our sheets into equal pieces, using pre-decided measurements, not aesthetic judgement to create the sections: I like the way it changes things when you isolate a section. The emphasis on the various elements changes, because of the enforced edges, and you start to get interesting things happening with composition. On my 2nd sheet, I started with some large marks in a grey emulsion, to create a new element of contrast. I made a new tool too - a piece of corrugated card to print with. You can see the marks top right: I cut this one into squares. As the paper's dimensions didn't divide exactly into squares, this allowed me a slight element of judgement, as I could move the composition of any square a centimetre or two to the left or right. I then selected the best 6 squares from the 9 created. These are my favourites. It's surprising how well they work just as they are, but you can also see how they could be taken into print or textiles. It would be fun trying to find ways to reinterpret the marks and tones in the different medium. I can highly recommend this as a very enjoyable way of exploring new techniques and getting new inspiration. The randomness is important though, as a way of forcing you not to be too controlling and letting unexpected things happen. John did some experiments using blotting paper, which he tore into strips. Even the offcuts were interesting, which I saved as we were clearing up. The beautiful blue is the Platignum ink: Even my offcuts were quite interesting: Have a go. Even before we got drawing, it was good fun making the tools from odds and ends we found around the studio, taping them to bits of stick and then finding out what marks they made.
