I's
I's
+
exhibition-ism:

The electric works of Los Angeles based artist John Espinosa 
exhibition-ism:

The electric works of Los Angeles based artist John Espinosa 
exhibition-ism:

The electric works of Los Angeles based artist John Espinosa 
exhibition-ism:

The electric works of Los Angeles based artist John Espinosa 
exhibition-ism:

The electric works of Los Angeles based artist John Espinosa 
exhibition-ism:

The electric works of Los Angeles based artist John Espinosa 
exhibition-ism:

The electric works of Los Angeles based artist John Espinosa 
exhibition-ism:

The electric works of Los Angeles based artist John Espinosa 
+
gasoline-station:

U.K. From Above
by Jason Hawkes
Source: The Atlantic In Focus
gasoline-station:

U.K. From Above
by Jason Hawkes
Source: The Atlantic In Focus
gasoline-station:

U.K. From Above
by Jason Hawkes
Source: The Atlantic In Focus
gasoline-station:

U.K. From Above
by Jason Hawkes
Source: The Atlantic In Focus
gasoline-station:

U.K. From Above
by Jason Hawkes
Source: The Atlantic In Focus
gasoline-station:

U.K. From Above
by Jason Hawkes
Source: The Atlantic In Focus
gasoline-station:

U.K. From Above
by Jason Hawkes
Source: The Atlantic In Focus
gasoline-station:

U.K. From Above
by Jason Hawkes
Source: The Atlantic In Focus
gasoline-station:

U.K. From Above
by Jason Hawkes
Source: The Atlantic In Focus
gasoline-station:

U.K. From Above
by Jason Hawkes
Source: The Atlantic In Focus
+
pixalry:

Papercut Style Ghibli Posters - by Michael Rogers
All 3 are available for sale at his Etsy Shop for $38.
pixalry:

Papercut Style Ghibli Posters - by Michael Rogers
All 3 are available for sale at his Etsy Shop for $38.
pixalry:

Papercut Style Ghibli Posters - by Michael Rogers
All 3 are available for sale at his Etsy Shop for $38.
pixalry:

Papercut Style Ghibli Posters - by Michael Rogers
All 3 are available for sale at his Etsy Shop for $38.
+

Logo design for coffee shop in Mercedes-Benz Connection.
Address: 7-3-10 Roppongi Minato-ku Tokyo 106-0032 Japan

Logo design for coffee shop in Mercedes-Benz Connection.
Address: 7-3-10 Roppongi Minato-ku Tokyo 106-0032 Japan

Logo design for coffee shop in Mercedes-Benz Connection.
Address: 7-3-10 Roppongi Minato-ku Tokyo 106-0032 Japan
+
thefabulousweirdtrotters:

A hand wrench by Design Martus
+
+
designcloud:

Best Fonts Released on March.
March! This month was full of good typefaces, for some reason I saw many display and handmade fonts very successful like In and Out and La Chic.
Is super difficult to show you the details of every font presented here, but don’t be fooled by the images that I showed you here, there are many fonts that have beautiful details and accents, and example is Acustic wich is a set of script and roman letters with cap,swashes and italic variants.
Here is the full list of the best fonts released on March, feel free to click on the name of the fonts to see full details (almost all the professional typefaces introductory offers up to 90% off, meaning that you can get a font for $1, $2 and $5 and a whole family of up to 21 fonts for les than $20 like Festivo):
Crique Grotesk (85% off)
Dream Script (30% off)
Courtesy Script Pro (30% off)
Festivo Lowercase Letters (84% off)
In & Out (75% off)
Core Deco (90% off)
Modum (70% off)
Microbrew (50% off)
La Chic Font (50% off)
Mariné (77% off)
Rein Grotesk (70% off)
Woderhand
National Champion Lines Series (50% off)
PiS Wanderlust (35% off)
Korb (50% off)
Acustica (778% off)
Supermolot
Coming Home (30% off)
Sarine (80% off)
Duval (80% off)
Gist Rough (65% off)
Predige Rounded (80% off)
Sofia Soft (75% off)
Pinto (50% off)
Did like it? Then you should see the past best fonts: February, January and past year.
If you want to see more lovely fonts and beautiful lettering visit:
Betype.co | Facebook | Twitter
designcloud:

Best Fonts Released on March.
March! This month was full of good typefaces, for some reason I saw many display and handmade fonts very successful like In and Out and La Chic.
Is super difficult to show you the details of every font presented here, but don’t be fooled by the images that I showed you here, there are many fonts that have beautiful details and accents, and example is Acustic wich is a set of script and roman letters with cap,swashes and italic variants.
Here is the full list of the best fonts released on March, feel free to click on the name of the fonts to see full details (almost all the professional typefaces introductory offers up to 90% off, meaning that you can get a font for $1, $2 and $5 and a whole family of up to 21 fonts for les than $20 like Festivo):
Crique Grotesk (85% off)
Dream Script (30% off)
Courtesy Script Pro (30% off)
Festivo Lowercase Letters (84% off)
In & Out (75% off)
Core Deco (90% off)
Modum (70% off)
Microbrew (50% off)
La Chic Font (50% off)
Mariné (77% off)
Rein Grotesk (70% off)
Woderhand
National Champion Lines Series (50% off)
PiS Wanderlust (35% off)
Korb (50% off)
Acustica (778% off)
Supermolot
Coming Home (30% off)
Sarine (80% off)
Duval (80% off)
Gist Rough (65% off)
Predige Rounded (80% off)
Sofia Soft (75% off)
Pinto (50% off)
Did like it? Then you should see the past best fonts: February, January and past year.
If you want to see more lovely fonts and beautiful lettering visit:
Betype.co | Facebook | Twitter
designcloud:

Best Fonts Released on March.
March! This month was full of good typefaces, for some reason I saw many display and handmade fonts very successful like In and Out and La Chic.
Is super difficult to show you the details of every font presented here, but don’t be fooled by the images that I showed you here, there are many fonts that have beautiful details and accents, and example is Acustic wich is a set of script and roman letters with cap,swashes and italic variants.
Here is the full list of the best fonts released on March, feel free to click on the name of the fonts to see full details (almost all the professional typefaces introductory offers up to 90% off, meaning that you can get a font for $1, $2 and $5 and a whole family of up to 21 fonts for les than $20 like Festivo):
Crique Grotesk (85% off)
Dream Script (30% off)
Courtesy Script Pro (30% off)
Festivo Lowercase Letters (84% off)
In & Out (75% off)
Core Deco (90% off)
Modum (70% off)
Microbrew (50% off)
La Chic Font (50% off)
Mariné (77% off)
Rein Grotesk (70% off)
Woderhand
National Champion Lines Series (50% off)
PiS Wanderlust (35% off)
Korb (50% off)
Acustica (778% off)
Supermolot
Coming Home (30% off)
Sarine (80% off)
Duval (80% off)
Gist Rough (65% off)
Predige Rounded (80% off)
Sofia Soft (75% off)
Pinto (50% off)
Did like it? Then you should see the past best fonts: February, January and past year.
If you want to see more lovely fonts and beautiful lettering visit:
Betype.co | Facebook | Twitter
designcloud:

Best Fonts Released on March.
March! This month was full of good typefaces, for some reason I saw many display and handmade fonts very successful like In and Out and La Chic.
Is super difficult to show you the details of every font presented here, but don’t be fooled by the images that I showed you here, there are many fonts that have beautiful details and accents, and example is Acustic wich is a set of script and roman letters with cap,swashes and italic variants.
Here is the full list of the best fonts released on March, feel free to click on the name of the fonts to see full details (almost all the professional typefaces introductory offers up to 90% off, meaning that you can get a font for $1, $2 and $5 and a whole family of up to 21 fonts for les than $20 like Festivo):
Crique Grotesk (85% off)
Dream Script (30% off)
Courtesy Script Pro (30% off)
Festivo Lowercase Letters (84% off)
In & Out (75% off)
Core Deco (90% off)
Modum (70% off)
Microbrew (50% off)
La Chic Font (50% off)
Mariné (77% off)
Rein Grotesk (70% off)
Woderhand
National Champion Lines Series (50% off)
PiS Wanderlust (35% off)
Korb (50% off)
Acustica (778% off)
Supermolot
Coming Home (30% off)
Sarine (80% off)
Duval (80% off)
Gist Rough (65% off)
Predige Rounded (80% off)
Sofia Soft (75% off)
Pinto (50% off)
Did like it? Then you should see the past best fonts: February, January and past year.
If you want to see more lovely fonts and beautiful lettering visit:
Betype.co | Facebook | Twitter
designcloud:

Best Fonts Released on March.
March! This month was full of good typefaces, for some reason I saw many display and handmade fonts very successful like In and Out and La Chic.
Is super difficult to show you the details of every font presented here, but don’t be fooled by the images that I showed you here, there are many fonts that have beautiful details and accents, and example is Acustic wich is a set of script and roman letters with cap,swashes and italic variants.
Here is the full list of the best fonts released on March, feel free to click on the name of the fonts to see full details (almost all the professional typefaces introductory offers up to 90% off, meaning that you can get a font for $1, $2 and $5 and a whole family of up to 21 fonts for les than $20 like Festivo):
Crique Grotesk (85% off)
Dream Script (30% off)
Courtesy Script Pro (30% off)
Festivo Lowercase Letters (84% off)
In & Out (75% off)
Core Deco (90% off)
Modum (70% off)
Microbrew (50% off)
La Chic Font (50% off)
Mariné (77% off)
Rein Grotesk (70% off)
Woderhand
National Champion Lines Series (50% off)
PiS Wanderlust (35% off)
Korb (50% off)
Acustica (778% off)
Supermolot
Coming Home (30% off)
Sarine (80% off)
Duval (80% off)
Gist Rough (65% off)
Predige Rounded (80% off)
Sofia Soft (75% off)
Pinto (50% off)
Did like it? Then you should see the past best fonts: February, January and past year.
If you want to see more lovely fonts and beautiful lettering visit:
Betype.co | Facebook | Twitter
designcloud:

Best Fonts Released on March.
March! This month was full of good typefaces, for some reason I saw many display and handmade fonts very successful like In and Out and La Chic.
Is super difficult to show you the details of every font presented here, but don’t be fooled by the images that I showed you here, there are many fonts that have beautiful details and accents, and example is Acustic wich is a set of script and roman letters with cap,swashes and italic variants.
Here is the full list of the best fonts released on March, feel free to click on the name of the fonts to see full details (almost all the professional typefaces introductory offers up to 90% off, meaning that you can get a font for $1, $2 and $5 and a whole family of up to 21 fonts for les than $20 like Festivo):
Crique Grotesk (85% off)
Dream Script (30% off)
Courtesy Script Pro (30% off)
Festivo Lowercase Letters (84% off)
In & Out (75% off)
Core Deco (90% off)
Modum (70% off)
Microbrew (50% off)
La Chic Font (50% off)
Mariné (77% off)
Rein Grotesk (70% off)
Woderhand
National Champion Lines Series (50% off)
PiS Wanderlust (35% off)
Korb (50% off)
Acustica (778% off)
Supermolot
Coming Home (30% off)
Sarine (80% off)
Duval (80% off)
Gist Rough (65% off)
Predige Rounded (80% off)
Sofia Soft (75% off)
Pinto (50% off)
Did like it? Then you should see the past best fonts: February, January and past year.
If you want to see more lovely fonts and beautiful lettering visit:
Betype.co | Facebook | Twitter
designcloud:

Best Fonts Released on March.
March! This month was full of good typefaces, for some reason I saw many display and handmade fonts very successful like In and Out and La Chic.
Is super difficult to show you the details of every font presented here, but don’t be fooled by the images that I showed you here, there are many fonts that have beautiful details and accents, and example is Acustic wich is a set of script and roman letters with cap,swashes and italic variants.
Here is the full list of the best fonts released on March, feel free to click on the name of the fonts to see full details (almost all the professional typefaces introductory offers up to 90% off, meaning that you can get a font for $1, $2 and $5 and a whole family of up to 21 fonts for les than $20 like Festivo):
Crique Grotesk (85% off)
Dream Script (30% off)
Courtesy Script Pro (30% off)
Festivo Lowercase Letters (84% off)
In & Out (75% off)
Core Deco (90% off)
Modum (70% off)
Microbrew (50% off)
La Chic Font (50% off)
Mariné (77% off)
Rein Grotesk (70% off)
Woderhand
National Champion Lines Series (50% off)
PiS Wanderlust (35% off)
Korb (50% off)
Acustica (778% off)
Supermolot
Coming Home (30% off)
Sarine (80% off)
Duval (80% off)
Gist Rough (65% off)
Predige Rounded (80% off)
Sofia Soft (75% off)
Pinto (50% off)
Did like it? Then you should see the past best fonts: February, January and past year.
If you want to see more lovely fonts and beautiful lettering visit:
Betype.co | Facebook | Twitter
designcloud:

Best Fonts Released on March.
March! This month was full of good typefaces, for some reason I saw many display and handmade fonts very successful like In and Out and La Chic.
Is super difficult to show you the details of every font presented here, but don’t be fooled by the images that I showed you here, there are many fonts that have beautiful details and accents, and example is Acustic wich is a set of script and roman letters with cap,swashes and italic variants.
Here is the full list of the best fonts released on March, feel free to click on the name of the fonts to see full details (almost all the professional typefaces introductory offers up to 90% off, meaning that you can get a font for $1, $2 and $5 and a whole family of up to 21 fonts for les than $20 like Festivo):
Crique Grotesk (85% off)
Dream Script (30% off)
Courtesy Script Pro (30% off)
Festivo Lowercase Letters (84% off)
In & Out (75% off)
Core Deco (90% off)
Modum (70% off)
Microbrew (50% off)
La Chic Font (50% off)
Mariné (77% off)
Rein Grotesk (70% off)
Woderhand
National Champion Lines Series (50% off)
PiS Wanderlust (35% off)
Korb (50% off)
Acustica (778% off)
Supermolot
Coming Home (30% off)
Sarine (80% off)
Duval (80% off)
Gist Rough (65% off)
Predige Rounded (80% off)
Sofia Soft (75% off)
Pinto (50% off)
Did like it? Then you should see the past best fonts: February, January and past year.
If you want to see more lovely fonts and beautiful lettering visit:
Betype.co | Facebook | Twitter
designcloud:

Best Fonts Released on March.
March! This month was full of good typefaces, for some reason I saw many display and handmade fonts very successful like In and Out and La Chic.
Is super difficult to show you the details of every font presented here, but don’t be fooled by the images that I showed you here, there are many fonts that have beautiful details and accents, and example is Acustic wich is a set of script and roman letters with cap,swashes and italic variants.
Here is the full list of the best fonts released on March, feel free to click on the name of the fonts to see full details (almost all the professional typefaces introductory offers up to 90% off, meaning that you can get a font for $1, $2 and $5 and a whole family of up to 21 fonts for les than $20 like Festivo):
Crique Grotesk (85% off)
Dream Script (30% off)
Courtesy Script Pro (30% off)
Festivo Lowercase Letters (84% off)
In & Out (75% off)
Core Deco (90% off)
Modum (70% off)
Microbrew (50% off)
La Chic Font (50% off)
Mariné (77% off)
Rein Grotesk (70% off)
Woderhand
National Champion Lines Series (50% off)
PiS Wanderlust (35% off)
Korb (50% off)
Acustica (778% off)
Supermolot
Coming Home (30% off)
Sarine (80% off)
Duval (80% off)
Gist Rough (65% off)
Predige Rounded (80% off)
Sofia Soft (75% off)
Pinto (50% off)
Did like it? Then you should see the past best fonts: February, January and past year.
If you want to see more lovely fonts and beautiful lettering visit:
Betype.co | Facebook | Twitter
+
likeafieldmouse:

Edward Burtynsky - Rock of Ages and Quarries
Artist’s statement:
"The concept of the landscape as architecture has become, for me, an act of imagination. I remember looking at buildings made of stone, and thinking, there has to be an interesting landscape somewhere out there because these stones had to have been taken out of the quarry one block at a time. I had never seen a dimensional quarry, but I envisioned an inverted cubed architecture on the side of a hill. I went in search of it, and when I had it on my ground glass, I knew that I had arrived. I had found an organic architecture created by our pursuit of raw materials. Open-pit mines, funneling down, were to me like inverted pyramids. Photographing quarries was a deliberate act of going out to try to find something in the world that would match the kinds of forms in my imagination.
I was excited by the striking patinas on the walls of the abandoned quarries. The surface of the rock-face would simultaneously reveal the process of its own creation, as well as display the techniques of the quarrymen. I likened the tenacious trees and pools of water to nature’s sentinels awaiting the eventual retreat of man and machine - to begin the slow process of reclamation.
Often my approach, the compression of space through light and optics, also yields an ambiguity of scale. I think that people are always trying to put a human scale on things. We need to put our human perspective into these images, and our presence is dwarfed by the spaces we’ve created. It’s an interesting metaphor for how technology seems larger than life, larger than our own lives.”
likeafieldmouse:

Edward Burtynsky - Rock of Ages and Quarries
Artist’s statement:
"The concept of the landscape as architecture has become, for me, an act of imagination. I remember looking at buildings made of stone, and thinking, there has to be an interesting landscape somewhere out there because these stones had to have been taken out of the quarry one block at a time. I had never seen a dimensional quarry, but I envisioned an inverted cubed architecture on the side of a hill. I went in search of it, and when I had it on my ground glass, I knew that I had arrived. I had found an organic architecture created by our pursuit of raw materials. Open-pit mines, funneling down, were to me like inverted pyramids. Photographing quarries was a deliberate act of going out to try to find something in the world that would match the kinds of forms in my imagination.
I was excited by the striking patinas on the walls of the abandoned quarries. The surface of the rock-face would simultaneously reveal the process of its own creation, as well as display the techniques of the quarrymen. I likened the tenacious trees and pools of water to nature’s sentinels awaiting the eventual retreat of man and machine - to begin the slow process of reclamation.
Often my approach, the compression of space through light and optics, also yields an ambiguity of scale. I think that people are always trying to put a human scale on things. We need to put our human perspective into these images, and our presence is dwarfed by the spaces we’ve created. It’s an interesting metaphor for how technology seems larger than life, larger than our own lives.”
likeafieldmouse:

Edward Burtynsky - Rock of Ages and Quarries
Artist’s statement:
"The concept of the landscape as architecture has become, for me, an act of imagination. I remember looking at buildings made of stone, and thinking, there has to be an interesting landscape somewhere out there because these stones had to have been taken out of the quarry one block at a time. I had never seen a dimensional quarry, but I envisioned an inverted cubed architecture on the side of a hill. I went in search of it, and when I had it on my ground glass, I knew that I had arrived. I had found an organic architecture created by our pursuit of raw materials. Open-pit mines, funneling down, were to me like inverted pyramids. Photographing quarries was a deliberate act of going out to try to find something in the world that would match the kinds of forms in my imagination.
I was excited by the striking patinas on the walls of the abandoned quarries. The surface of the rock-face would simultaneously reveal the process of its own creation, as well as display the techniques of the quarrymen. I likened the tenacious trees and pools of water to nature’s sentinels awaiting the eventual retreat of man and machine - to begin the slow process of reclamation.
Often my approach, the compression of space through light and optics, also yields an ambiguity of scale. I think that people are always trying to put a human scale on things. We need to put our human perspective into these images, and our presence is dwarfed by the spaces we’ve created. It’s an interesting metaphor for how technology seems larger than life, larger than our own lives.”
likeafieldmouse:

Edward Burtynsky - Rock of Ages and Quarries
Artist’s statement:
"The concept of the landscape as architecture has become, for me, an act of imagination. I remember looking at buildings made of stone, and thinking, there has to be an interesting landscape somewhere out there because these stones had to have been taken out of the quarry one block at a time. I had never seen a dimensional quarry, but I envisioned an inverted cubed architecture on the side of a hill. I went in search of it, and when I had it on my ground glass, I knew that I had arrived. I had found an organic architecture created by our pursuit of raw materials. Open-pit mines, funneling down, were to me like inverted pyramids. Photographing quarries was a deliberate act of going out to try to find something in the world that would match the kinds of forms in my imagination.
I was excited by the striking patinas on the walls of the abandoned quarries. The surface of the rock-face would simultaneously reveal the process of its own creation, as well as display the techniques of the quarrymen. I likened the tenacious trees and pools of water to nature’s sentinels awaiting the eventual retreat of man and machine - to begin the slow process of reclamation.
Often my approach, the compression of space through light and optics, also yields an ambiguity of scale. I think that people are always trying to put a human scale on things. We need to put our human perspective into these images, and our presence is dwarfed by the spaces we’ve created. It’s an interesting metaphor for how technology seems larger than life, larger than our own lives.”
likeafieldmouse:

Edward Burtynsky - Rock of Ages and Quarries
Artist’s statement:
"The concept of the landscape as architecture has become, for me, an act of imagination. I remember looking at buildings made of stone, and thinking, there has to be an interesting landscape somewhere out there because these stones had to have been taken out of the quarry one block at a time. I had never seen a dimensional quarry, but I envisioned an inverted cubed architecture on the side of a hill. I went in search of it, and when I had it on my ground glass, I knew that I had arrived. I had found an organic architecture created by our pursuit of raw materials. Open-pit mines, funneling down, were to me like inverted pyramids. Photographing quarries was a deliberate act of going out to try to find something in the world that would match the kinds of forms in my imagination.
I was excited by the striking patinas on the walls of the abandoned quarries. The surface of the rock-face would simultaneously reveal the process of its own creation, as well as display the techniques of the quarrymen. I likened the tenacious trees and pools of water to nature’s sentinels awaiting the eventual retreat of man and machine - to begin the slow process of reclamation.
Often my approach, the compression of space through light and optics, also yields an ambiguity of scale. I think that people are always trying to put a human scale on things. We need to put our human perspective into these images, and our presence is dwarfed by the spaces we’ve created. It’s an interesting metaphor for how technology seems larger than life, larger than our own lives.”
likeafieldmouse:

Edward Burtynsky - Rock of Ages and Quarries
Artist’s statement:
"The concept of the landscape as architecture has become, for me, an act of imagination. I remember looking at buildings made of stone, and thinking, there has to be an interesting landscape somewhere out there because these stones had to have been taken out of the quarry one block at a time. I had never seen a dimensional quarry, but I envisioned an inverted cubed architecture on the side of a hill. I went in search of it, and when I had it on my ground glass, I knew that I had arrived. I had found an organic architecture created by our pursuit of raw materials. Open-pit mines, funneling down, were to me like inverted pyramids. Photographing quarries was a deliberate act of going out to try to find something in the world that would match the kinds of forms in my imagination.
I was excited by the striking patinas on the walls of the abandoned quarries. The surface of the rock-face would simultaneously reveal the process of its own creation, as well as display the techniques of the quarrymen. I likened the tenacious trees and pools of water to nature’s sentinels awaiting the eventual retreat of man and machine - to begin the slow process of reclamation.
Often my approach, the compression of space through light and optics, also yields an ambiguity of scale. I think that people are always trying to put a human scale on things. We need to put our human perspective into these images, and our presence is dwarfed by the spaces we’ve created. It’s an interesting metaphor for how technology seems larger than life, larger than our own lives.”
likeafieldmouse:

Edward Burtynsky - Rock of Ages and Quarries
Artist’s statement:
"The concept of the landscape as architecture has become, for me, an act of imagination. I remember looking at buildings made of stone, and thinking, there has to be an interesting landscape somewhere out there because these stones had to have been taken out of the quarry one block at a time. I had never seen a dimensional quarry, but I envisioned an inverted cubed architecture on the side of a hill. I went in search of it, and when I had it on my ground glass, I knew that I had arrived. I had found an organic architecture created by our pursuit of raw materials. Open-pit mines, funneling down, were to me like inverted pyramids. Photographing quarries was a deliberate act of going out to try to find something in the world that would match the kinds of forms in my imagination.
I was excited by the striking patinas on the walls of the abandoned quarries. The surface of the rock-face would simultaneously reveal the process of its own creation, as well as display the techniques of the quarrymen. I likened the tenacious trees and pools of water to nature’s sentinels awaiting the eventual retreat of man and machine - to begin the slow process of reclamation.
Often my approach, the compression of space through light and optics, also yields an ambiguity of scale. I think that people are always trying to put a human scale on things. We need to put our human perspective into these images, and our presence is dwarfed by the spaces we’ve created. It’s an interesting metaphor for how technology seems larger than life, larger than our own lives.”
likeafieldmouse:

Edward Burtynsky - Rock of Ages and Quarries
Artist’s statement:
"The concept of the landscape as architecture has become, for me, an act of imagination. I remember looking at buildings made of stone, and thinking, there has to be an interesting landscape somewhere out there because these stones had to have been taken out of the quarry one block at a time. I had never seen a dimensional quarry, but I envisioned an inverted cubed architecture on the side of a hill. I went in search of it, and when I had it on my ground glass, I knew that I had arrived. I had found an organic architecture created by our pursuit of raw materials. Open-pit mines, funneling down, were to me like inverted pyramids. Photographing quarries was a deliberate act of going out to try to find something in the world that would match the kinds of forms in my imagination.
I was excited by the striking patinas on the walls of the abandoned quarries. The surface of the rock-face would simultaneously reveal the process of its own creation, as well as display the techniques of the quarrymen. I likened the tenacious trees and pools of water to nature’s sentinels awaiting the eventual retreat of man and machine - to begin the slow process of reclamation.
Often my approach, the compression of space through light and optics, also yields an ambiguity of scale. I think that people are always trying to put a human scale on things. We need to put our human perspective into these images, and our presence is dwarfed by the spaces we’ve created. It’s an interesting metaphor for how technology seems larger than life, larger than our own lives.”
likeafieldmouse:

Edward Burtynsky - Rock of Ages and Quarries
Artist’s statement:
"The concept of the landscape as architecture has become, for me, an act of imagination. I remember looking at buildings made of stone, and thinking, there has to be an interesting landscape somewhere out there because these stones had to have been taken out of the quarry one block at a time. I had never seen a dimensional quarry, but I envisioned an inverted cubed architecture on the side of a hill. I went in search of it, and when I had it on my ground glass, I knew that I had arrived. I had found an organic architecture created by our pursuit of raw materials. Open-pit mines, funneling down, were to me like inverted pyramids. Photographing quarries was a deliberate act of going out to try to find something in the world that would match the kinds of forms in my imagination.
I was excited by the striking patinas on the walls of the abandoned quarries. The surface of the rock-face would simultaneously reveal the process of its own creation, as well as display the techniques of the quarrymen. I likened the tenacious trees and pools of water to nature’s sentinels awaiting the eventual retreat of man and machine - to begin the slow process of reclamation.
Often my approach, the compression of space through light and optics, also yields an ambiguity of scale. I think that people are always trying to put a human scale on things. We need to put our human perspective into these images, and our presence is dwarfed by the spaces we’ve created. It’s an interesting metaphor for how technology seems larger than life, larger than our own lives.”
likeafieldmouse:

Edward Burtynsky - Rock of Ages and Quarries
Artist’s statement:
"The concept of the landscape as architecture has become, for me, an act of imagination. I remember looking at buildings made of stone, and thinking, there has to be an interesting landscape somewhere out there because these stones had to have been taken out of the quarry one block at a time. I had never seen a dimensional quarry, but I envisioned an inverted cubed architecture on the side of a hill. I went in search of it, and when I had it on my ground glass, I knew that I had arrived. I had found an organic architecture created by our pursuit of raw materials. Open-pit mines, funneling down, were to me like inverted pyramids. Photographing quarries was a deliberate act of going out to try to find something in the world that would match the kinds of forms in my imagination.
I was excited by the striking patinas on the walls of the abandoned quarries. The surface of the rock-face would simultaneously reveal the process of its own creation, as well as display the techniques of the quarrymen. I likened the tenacious trees and pools of water to nature’s sentinels awaiting the eventual retreat of man and machine - to begin the slow process of reclamation.
Often my approach, the compression of space through light and optics, also yields an ambiguity of scale. I think that people are always trying to put a human scale on things. We need to put our human perspective into these images, and our presence is dwarfed by the spaces we’ve created. It’s an interesting metaphor for how technology seems larger than life, larger than our own lives.”
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