Plan on using this one to put a plant in!! Love it :)
Italian architect and designer Carlo Scarpa was born on this day in 1906 in Venice. He studied architectural design at the Accademia di Belle Arti in Venice and after graduation would teach at the Istituto Universitario di Architettura, also in Venice. He worked as an artistic consultant for various glassmakers in Murano and served as design consultant to the Venice Biennale from 1948 through 1972. Scarpa was active in the restoration and remodeling of historic buildings and worked on numerous museum and exhibition design projects.
Reference: Mercedes Daguerre. “Scarpa, Carlo.” Grove Art Online. Oxford Art Online. Oxford University Press.<http://www.oxfordartonline.com/subscriber/article/grove/art/T076342>.
Corroso Vase, 1936, blown glass, produced by Venini, Murano. Montreal Museum of Fine Arts, Liliane and David M. Stewart Collection, gift of the American Friends of Canada through the generosity of Susan A. Chalom, inv. D84.165.1
Tessuto Vase, 1939 (example about 1950-1970), blown glass, produced by Venini, Murano. Montreal Museum of Fine Arts, Liliane and David M. Stewart Collection, inv. D88.109.1
Brion-Vega Cemetery, 1970-72, San Vito d’Altivole, Italy
Banca Popolare di Verona, 1973, Verona, Italy
A fascination for the old Japanese Suminagashi technique forms the basis for the experimental methodology where the hydrophobic reaction between water and oil based pigments is used to create a unique graphic pattern. Due to this process of discrepancy a fractal motif arises on the surface of the water. This fluid pattern of liquid tension is captured and fixated on delicate silk and fine ceramics. A fleeting two-dimensional surface transforms into a tangible and solid whole.
Photography: Raw Color
Jieun lee jewellery
Glass gellages by Michal Macků
Since the end of 1989, Michal Macku has used his own creative technique which he has named “Gellage” (the ligature of collage and gelatin).
The technique consists of transfer the exposed and fixed photographic emulsion from its original base on paper. This transparent and plastic gelatin substance makes it possible to reshape and reform the original images, changing their relationships and endowing them with new meanings during the transfer. The finished work gives a compact image with a fine surface structure. Created on photographic quality paper, each Gellage is a highly durable print eminently suited for collecting and exhibiting.
The laborious technology, which often includes the use of more than one negative per image, makes it impossible to produce absolutely identical prints: Each Gellage is an original work of art. The artist does make at least 12 signed and numbered prints of each image.
Michal Macku talks about his work: “I use the nude human body (mostly my own) in my pictures. Through the photographic process [of Gellage], this concrete human body is compelled to meet with abstract surroundings and distortions. This connection is most exciting for me and helps me to find new levels of humanness in the resulting work.
Michal Macků combines in this work his gellages technique with large format historic photographic processes and state-of-the-art technology to create the 3D glass photographs-objects, so called glass gellages.