FABERGE FRACTALS BY TOM BEDDARD

by Ariadna Zierold

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Scotland-based laser physicist-turned-artist and web developer Tom Beddard, aka subBlue, has produced a number of intriguing geometric forms he refers to as Fabergé Fractals. Like an ornate Fabergé egg, Beddard’s creations boast brilliant and intricate design patterns. The English artist uses a formulaic method to create his digitally rendered three-dimensional models.

The 3D fractals are generated by iterative formulas whereby the output of one iteration forms the input for the next. The formulas effectively fold, scale, rotate or flip space. They are truly fractal in the fact that more and more detail can be revealed the closer to the surface you travel.

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Merkley???

Picture 10 Merkley??? Photography merkeley??? interview girls

James Pawlish talks to San Francisco photographer Merkley??? about his influences, nudity, Mormons and new book entitled ZZZ??? Zebras, Zeppelins & Zucchinis.

JP:Who is Merkley??? Tells us a little bit about your personal life and upbringing.

Merkley???: Hey, that’s ME! I’m Merkley??? I grew up Mormon in Utah with two step moms, two step dads and 17 siblings some of whom share DNA and others who are merely Steps a.k.a “invaders”.

I am The Heavyweight Sleep Champion of The World and I eat my own weight in mexican food every 20 minutes. Old Faithful ain’t got shit on me.

Even though I make pictures of mostly naked people, the subject of sex or eroticism still gives me the heegeebeegees.

Yes I reinvented that word to pay proper homage to The Bee Gees without whom I would be completely lost fashion wise. Blame nobody but yourselves. Blame nobody but yourselves.

BTW, I am STILL technically a Mormon. I think that’s pretty fucking cool.

I baptized people in Brazil you know, Yeah, LOTS even. I’m still good friends with my favorite missionary companion there. He is now married… to a MAN.

I think he too is still technically Mormon.

You asked.

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You have a pretty unique sense of style? Where do you get those three piece corduroy suits of yours? I heard you have a different color one for every day of the week.

Ha, this means I get to talk more about The Bee Gees. I have stolen most everything I am from those fine brothers and you know what? My father claims that we are RELATED to them. I know right? I can’t prove it but there certainly are a LOT of Gibbs in the bloodline. From Whales even. I don’t know if the Gibbs in the Bee Gees have welsh ancestry, I’m told they do but you can google if you want.

Anyway, yeah I actually have 31 suits all the same. There is a nice lady in Hoi An Vietnam that makes them for me. We do everything over yahoo video chat. You all can Skype as much as you want but Thuy ‘n I like to keep it old school.

I once talked with her about The Bee Gees when she was making the pattern for the first suit.

I wasn’t planning on this being so much about The Bee Gees, I swear.

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A lot of your photos incorporate props and uniquely crafted installations. How would describe your creative process?

You know how when you are five years old, Mormon, upper lower class and you don’t have a lot of toys so you play with groceries, sticks, bugs, cardboard boxes, dead rodents, dead batteries, dead plants, Broken radios, Upside down TV’s, neighbors pets and stuff from your mom’s closet?

No?

Well it’s exactly like that.

Picture 6 Merkley??? Photography merkeley??? interview girls

Your work has this sarcastic/fuck you attitude to it that’s hilarious. Tells us about this side of your personality.
I have no idea what “sarcastic” means.

My turn to Google. hold on.

Ok, I just read what that means and FUCK YOU for saying it.

I’m totally sincere about everything always and forever infinity.

Picture 7 Merkley??? Photography merkeley??? interview girls

When did you first pick up a camera. How has your style evolved over the years?

I’m guessing I probably picked on up as a baby at some point although I probably just slobbered on it and tossed it just out of reach. Then I probably crapped my pants and cried.

I don’t remember much about my infancy so lets skip ahead to the year 2000 when I bought a palm pilot attachment that let me make digital photos that were about 300

Saskia de Braw for the 2012 Pirelli Tire Calendar

07pirelli heyman tmagArticle Saskia de Braw for the 2012 Pirelli Tire Calendar pirelli calendar perelli lara stone Kate Moss 2012

The NY Times said it best: “For most every year since 1964, Pirelli, the Italian tire maker, has bankrolled a very unusual, very expensive promotional calendar. It typically involves a coterie of the world’s hottest models jetting to an exquisitely remote clime — the Seychelles, say, or Botswana — to be photographed, nude, by an elite fashion photographer.” This year, the models are Saskia de Braw, Lara Stone, Kate Moss, Milla Jovovich, and others, and the photographer is Mario Sorrenti, and the location is Corsica.

From The Citrus Report

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Joyce Kozloff

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The artwork of Joyce Kozloff is a beautiful arrangement of patterns, ideas, combinations and critiques. In the early 70′s she was strongly influenced by the feminist movement and her art began to express these views. Her work placed value on media and imagery that was considered unworthy of a place in the high art world and it’s connection to femininity and non-western influences challenged the the sexist, minimalist establishment of the 1970′s.

When her work was gaining multi-national attention in the late ’70s she decided to focus her energy on public work that could reach a greater audience than the gallery or museum could offer. When she shifted back to a studio practice her work took on problems of gender, sexism, racism as well as strong critique of the United States roll as a military aggressor. For more than three decades Joyce Kozloff has made enticing, attractive, intelligent work that has continually found interesting ways to make people aware of their surroundings.

Can you tell us a little about yourself. You live and work in New York right? How did get started in art?

I come from a small town in New Jersey, went to Carnegie Mellon (then called Carnegie Institute of Technology) in Pittsburgh during the 1960s, then came to NY, worked in art galleries and the UN and attended grad school at Columbia, where I got my MFA in 1967. At that time, I was making hard edged, geometric paintings, the dominant painting style of the moment.

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You began working with patterns from many different so called “non-western” influences in the 1970s. Do you think this work was just a reaction to minimalism or were there specific motivations behind the paintings you made during this time?

My thinking was turned around by the feminist movement, which shook my life and the lives of many others in the early 1970s. I questioned everything about my education. I began to look at the traditional arts of women from many different cultures, what we in the west call the decorative or applied arts. I wanted to make work that paid homage to, and learned from those often anonymous sources.

In the time that has passed since you first began making art that questioned women’s rights and the legitimacy of certain craft and design elements, have you seen positive changes to some of these issues that your work has addressed?

Absolutely! There is much interesting art that is re-contextualizing craft now. I see it everywhere, and the dialogue around it is much more sophisticated than it used to be. It’s gratifying.

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How did the feminist movement influence your art and maybe some of your views on the world?

Dramatically. I first participated in the women’s movement in Los Angeles, 1970-71, then in New York thereafter. I still have many close friendships from those years. The energy, enthusiasm, optimism and support was invaluable. We gave one another permission to explore territory that had been previously un-mined.

I really admire the decision you made to get away from the gallery scene and move into public art. You were having some really successful shows in the late 70′s. What was it that pushed you to this change?

I wanted to expand my decorative art to a public scale. It had already moved off the canvas and onto the walls and floors. (I was making ceramic tiles and printed textiles in the late 70s.) And I was excited about reaching a broader audience than the people who visit galleries and museums. I was almost messianic about grand scale public decoration.

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What made you decide to move back into the gallery?

I never stopped showing in galleries altogether, but my focus throughout the 80s and into the nineties was on public art. My exhibitions were often related to the commissions (models, drawings, photographs, or ideas for unrealized, even visionary projects). I ultimately burned out. I created 16 ambitious public projects that I’m proud of, but toward the end, there were battles over content that were devastating to me. And I had lots of ideas for private work that I never had time to realize in those years. Each project took over my life for a year or more. I was getting older, and felt a new urgency to return to an intimate studio practice. I can imagine doing a public art piece again sometime, but that is not where my passion lies now.

Does the cartography you use in much of your recent work help to connect people with some of the problems that may seem to be half way around the world?

I truly hope so! Many artists utilize maps in their work, in all kinds of different ways. Mapping is one of the chief forms of communication in the 21st century. For me, a map is like the scaffold of a building. It is a structure into which I can infuse content. Medieval and Renaissance maps are full of stories, and they have been my models. I have become an amateur student of the history of cartography. Maps reveal the biases and attitudes of their time, if one looks closely. I want to reveal today’s political realities and conflicts through re-mapping and re-inventing the world as it is presented to us daily.

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Your work has been direct in it’s opposition to many things, including the U.S. roll in military action. How much power does an artist have in causing change to political decisions in your opinion?

Hah! Very little, I’m afraid. Whenever there is talk about art that had a powerful impact, people mention “Guernica,” which was painted in 1937. Film and digital media may be having that kind of effect today, but we do not yet have the historical distance to know. I just now came home from an exhibition at the Guggenheim Museum, “Found in Translation,” in which there were several video pieces that made one think about language, history, culture and this current moment (particularly the works of Omer Fast and Steve McQueen).

Any thoughts to share on the unrest in North Africa and the middle east right now?

I believe that each country will evolve differently. Egypt and Tunisia seem to be off to a good start, so I’m hopeful.

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Who are a few people who have inspired you in your work or in life generally?

So many things: I have a voracious appetite for the visual world. The great mosques of Isfahan. The Alhambra. The paintings of Duccio and Cimabue and the Lorenzetti and Giovanni Bellini. Mackintosh and Fortuny and Sonia Delaunay and Persian miniatures and the 20th century paintings of the Baroda school (India). And movies: I grew up on Godard, Truffaut, Varda, Antonioni, Fellini. If you asked me this question on another day, I’d come up with a different list.

What can we look forward to seeing from you in the future?

I’m thinking of doing a piece about Christianity next (I’m a secular Jew). I grew up in a Catholic town, where we were the only Jewish family. I’m always fascinated by “the other”, and where I stand in relationship to those others.

See more of Joyce Kozloff’s work at: http://www.joycekozloff.net/

From The Citrus Report

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WK Interact in Mexico City Video

Very cool WK Interact video from his “Black Palace” mural he did in Mexico City. The militant drums are definitely a sell on this one. Cool to watch how he photographs and creates these large-scaled pieces, with the models and capturing the motion, and setting the whole thing up in Mexico…

WK – Black Palace (Mexico) from adolphus on Vimeo.

From The Citrus Report

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Tomohide Ikeya’s “Breath”

Japanese photographer Tomohide Ikeya captures some pretty amazing moments in these underwater photos.  He supposedly became interested in photography through scuba diving.  Which would explain this series appropriately titled “Breath.”  His use of light in contrast with the exhaled air and the movement of the models underwater create a really dramatic image.

From The Citrus Report

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