Visual artist, photographer and editor from Madrid: Rocio Montoya.
Wisdom! to leave his wife, to leave his babes, His mansion, and his titles, in a place From whence himself does fly? He loves us not: He wants the natural touch; for the poor wren, The most diminutive of birds, will fight, Her young ones in her nest, against the owl. All is the fear, and nothing is the love; As little is the wisdom, where the flight So runs against all reason.
Index and credits:
1. Indonesian Muslims perform Eid Al-Adha prayer at Al-Akbar Mosque in Surabaya, Indonesia. (Robertus Pudyanto / Getty Images)
2. Residents watch as dark giant ash clouds rise from the crater of Mount Sinabung volcano during an eruption. (Sutanta Aditya / Getty Images)
3. A shadow of a cloud is cast on the fields as a farmer ties a shawl on her head at Khokana in Lalitpur. (REUTERS/Navesh Chitrakar)
4. a picture taken with the CIVA camera on Rosettas Philae lander showing comet 67P/ChuryumovGerasimenko from a distance of about 16 km from the surface of the comet. (AFP PHOTO / ESA/Rosetta/Philae/CIVA)
5. Blind studen of the Association of Ballet and Arts for the Blind, warms up backstage before performing ‘Corsario’ e ‘Paquitas’ during celebrations marking Brazil’s Children’s Day at the Italo Theater in Sao Paulo. (Nacho Doce/Reuters)
6. “Umbrellas”, the sculpture by Giorgos Zogolopoulos is illuminated in pink light in northern Greece. (REUTERS/Alexandros Avramidis)
Somewhere between 1970s concept album art, expeditionary imagery, and Surrealist painting is where Reuben Wu’s photographs steadfastly sit. His are pictures made in the real world, however, through collapsing time and merging processes, the real is transformed into the surreal, evoking a response simultaneously familiar and foreign. The photographs amplify the strangeness of place and speak to Wu’s individual experience within it.
The remnants of his processes – chemicals dragged arduously across the sensitised paper surface, infrared film shifting the world’s natural hues, light leaking into the camera and hitting the film plane – leave traces of their varied journeys embedded in the final image. Wu’s physical journey is a similar one; he treks with cameras in tow to places that, for most of us, are left to those who fall into the category of “explorer”. Considering the lengths he travels to make his photographs, the unpredictability of Wu’s materials is not exactly what we’d deem trustworthy. The resultant images delineate from the expected photographic trajectory and provide a mode of looking that is equally experiential and aesthetically unique. N.W.3 hearts
Illustrator Michał Mozolewski
The “realist” polishes his lenses to capture the fleeting aspects of the external world. He prides himself upon the soundness and the sanity of his vision. The totality of that objective world he never doubts.
But there are others: they cultivate the inner vision, abandon the paved highway of standardized points of view, brave the quicksands of non-conformity, and seek their own path through the jungle of subjectivity.
For artists of this type, no less than seers and poets, the external world provides no more than the symbols and alphabet of communication, and the “field” into which they may project their visions.
A.B. and M.D.7 hearts
Speak we’re listening. Director Salomon Ligthelm with outstanding voice over by Rob Ricotta.
The advancement of science at the expense of man is one of the most pernicious things in the world. The stunted man is a retrogression in the human race: he throws a shadow over all succeeding generations The tendencies and natural purpose of the individual science become degenerate, and science itself is finally shipwrecked: it has made progress, but has either no effect at all on life or else an immoral one.
2014 font Fort Condensed by Village.
Jeremy Mickel: “I first ‘completed’ the new widths of Fort for AFAR magazine, but rethought the range of widths shortly after. I decided my Condensed wasn’t narrow enough to really differentiate from the regular width. I also redrew many of the characters, realizing that as a font gets more condensed, open forms like the C G S need to close up more, otherwise feeling too open. I cut the middle width and create a much narrower version and named that ‘XCondensed’.
AFAR wanted italics for all the styles, and I debated whether to draw italics for the new XCondensed weight. Almost on a dare from a type-designer friend, I knuckled through it and drew the italics for all the widths. It would have felt unbalanced not to, and in the end, I’m glad I made them. I think narrow italics can be useful, and are a worthwhile addition to an underserved part of the typographic spectrum.”5 hearts
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