I’ve been making a lot of work with my AxiDraw. Actually, the work is made between found and created images, two or more lots of software, output with the AxiDraw hardware to paper and printmaking processes such as etching and screenprinting.
It’s a complex but lovely process with infinite potential. I would like to teach and watch others take it into their practice.
From my doctoral research a project is emerging, 100 leaves from Auschwitz.
On Holocaust Memorial Day 2020 I circumnavigated Birkenau.
On Armistice Day 2021 I collected 100 leaves from Birkenau.
I’m making a memorial chapbook for Holocaust Memorial Day 2023.
When creating an image in the Midjourney AI program it is possible (and possibly more interesting) to record the process by which Midjouney thinks the image into being.
I spend a lot of time (and money) looking for books that step outside conventional structure. I know there are a lot of them around but at the same time, there is no genre, no identifying marks that lead to books of this nature. I read across fiction and non-fiction and poetry, hoping for something that mixes them all together into something new.
So it’s nice to come across a book that wears this sort of heart on its sleeve and which gives me some more clues to the language of this space.
‘Formally experimental – mini plays, time-stamped fragments, prose-as-prayer – in work that’s political, comic and genuinely original.’
‘Foley joins a cohort of contemporary authors whose work seems dissatisfied with narrative conventions. What happens when we blow them open?’
Ordered in confidence but not read yet.
The allure of seeing the world from above is so closely associated with the discipline of geography that some degree programs even suggest that students who “prefer the window seats on airplanes” might be potential future geographers. And while there are many reasons to be cautious about the totalizing perspective of the “God’s-eye view,” aerial images still nevertheless invite us to observe spatial structures both grand and intimate, and to interrogate how the patterned ground on which we live came to take on its visual form.
Some of the most interesting aerial observations emerge from repetition in the landscape—both built and natural forms that occur time and time again. When I was working on developing our Insizeor tool, I tried a few different processing techniques for clipping out sections from an aerial image layer. Using one of these techniques that I didn’t eventually need for Insizeor, I started to experiment with what it would look like if I created rapid animations based on repetitive features.
https://www.leventhalmap.org/articles/birds-eye-cards/
I have a machine that draws using what you put in it, pens, pencils, fountain pens, whatever. I’m just starting, all is experimention. You can put the machine down on anything so I’m looking at found materials and large scale drawings. My aim is to use mixed media.
This fillm of a return visit to Auschwitz-Birkenau was made on the day after the 75th anniversary of the liberation of Aushwitz. I was there also on that day, visiting.
Anneliese Nossbaum passed away March 23, 2020 after falling ill within weeks of returning from a trip that commemorated the 75-year anniversary of the liberation of Auschwitz. She was 91.
She was born on January 8, 1929 in Guben, Germany as Anneliese Winterberg. At the age of two, her family moved to Bonn where her father later became the rabbi of their synagogue.
https://apria.artez.nl/issue/time-matters/
With contributions from Peter Sonderen, Laurie Hermans and Katía Truijen, Ienke Kastelein, Marijke Goeting, Jesse Ahlers, Paula Walta, Claudia Molitor, Liza Rinkema, Terike Haapoja, Alice Smits, Rick Dolphijn, Sharon Stewart, Frans Sturkenboom, Saskia Isabella Maria Korsten, Korsten & De Jong, Joep Christenhusz, Sophie Krier, Christel Vesters, and Monique Peperkamp
Edited by Peter Sonderen, Sharon Stewart and Joep Christenhusz