•
A selection of pages from The Ghost In the Underblows published in 1940 by The Ward Ritchie Press in Los Angeles. The book is an illustrated epic poem by Alfred Young Fisher with an introduction by Lawrence Clarke Powell and graphic design by Alvin Lustig.
•
We are what we share: pinterest.com/brancolina
Photo impressions from La Défense district in Paris featuring details of Raymond Moretti’s sculpture Cheminée d’aération
photography ©2011 brancolina
Strata #4 is a multi-channel immersive video-installation commissioned in 2011 by Palais de Beaux Arts in Lille. The subject of this work is a series of iconic pieces from the museum’s Flemish collection, focusing specifically on Rubens’ and Van Dyck’s grand altarpieces. Strata #4 is the result of a study and exploration of the paintings themselves, delving beneath their figurative appearance and looking at the very rules behind the composition, colour schemes and proportions of each piece. It is a precise process aimed at creating new contemporary images based on universal rules of beauty and perfection. Documenting the improbable collisions between classical figurations and contemporary abstraction, Strata #4 aims to create a harmonious dialogue between worlds that may seem very distant from one another, but in fact share so much in common. Strata #4 is part of the ongoing Strata Series.
More info+pics: quayola.com
Additional Credits:
Matthias Kispert: sound design
James Medcraft: photography
Kieran Finch, Cai Matthews: animation assistants
Mauritius Seeger, Evan Bohem: programming
Beccy McCray: producer
Patrick Hearn: technical support
Commissioned by Palais des Beaux Arts, Lille
Produced by Nexus, London
A selection of photos featuring the Delftse poort office building in Rotterdam, also known as N.N. because of the insurance company ‘Nationale Nederlanden’ that occupies the building. It is designed by arch. Abe Bonnema and completed in 1991.
photography ©2011 brancolina, all rights reserved
Through her elegant sculptural compositions, Eva Rothschild explores the apprehensive relationship between objective form and new-age spiritualism. Rothschild approaches art as tantamount to a numinous belief system, where functionless objects become receptacles for immaterial sentiment, both inciting and emitting their own metaphysical auras. Inspired by 60s and 70s minimalism, Rothschild’s sleek designs evoke sustained contemplation and emotive tension. (edit from High Times, Saatchi gallery)
it is what it is 
You must be logged in to post a comment.