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His work often contains a narrative, his images tell a story and make the spectator think. Clever use of light is a common theme as is the role of nature. As he explains “I like to think about the place of human beings on our small planet.”
what else..?
in the mood…
Common wildlife scenes: a cheetah hunting its prey, Flamingos in their natural habitat get interrupted by an unwelcome intruder and Zebras enjoying their time at the waterhole…
The FMX trailers are traditionally created by students of the Institute of Animation, Effects and Digital Postproduction at Filmakademie Baden-Württemberg. The 2013 trailer Rollin’ Safari was directed by Kyra Buschor, Ännie Habermehl and Constantin Paeplow and produced by Valentina Bruening and Philipp Wolf.
“Our initial idea was to tell a high speed chase - but different to known scenarios. Imagine the story of a hunter pursuing a fat rollin deer in the forest - Hilarious! As we loved the idea of rollin’ animals that much we decided the hunter should also be an animal - even more hilarious - and everything should take place in the savannah since in this region we were given a bigger choice of typical wildlife hunting scenes.”
The film is mainly animated, rendered und lightened in Maya, while Zbrush and Mudbox were used for the details. A lot of texture painting was done, especially with regard to the general setting – which is why the plants and grass are painted flat and arranged in layers, one behind the other. The ground and the stones were modeled and textured just like the animals. Everything further located from the camera was painted as one, great picture and subsequently projected behind the scenery.
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Cutlery design focuses on getting food in bite-sized morsels from the plate to the mouth, but it could do so much more.
The project aims to reveal just how much more, stretching the limits of what tableware can do. Focusing on ways of making eating a much richer experience, a series of dozens of different designs has been created, inspired by the phenomenon of synesthesia. This is a neurological condition where stimulus to one sense can affect one or more of the other senses.
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An everyday event, ‘taste’ is created as a combination of more than five senses. Tasty formulas with the 5 elements – temperature, colour, texture, volume/weight, and form – are applied to design proposal. Via exploring synesthesia if we can stretch the borders of what tableware can do, the eating experience can be enriched in multi-cross-wiring ways.
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The tableware we use for eating should not just be a tool for placing food in our mouth, but it should become extensions of our body, challenging our senses even in the moment when the food is still on its way to being consumed. Each of designs have been created to stimulate or train different senses – allowing more than just our taste buds to be engaged in the act and enjoyment of eating as sensorial stimuli, therefore it would lead the way of mindful eating which guides to rediscovering a healthy and joyful relationship with food.
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How can we eat slowly down the moment of one bite and taste enhanced sweetness nevert- heless consuming less amounts of sugar? ‘Tasty formulas’, which have been created by Jinhyun Jeon would help us to understand interesting ways of how we consume our food with the tasty cutlery for enhanced temperature / tactility / color / volume / weight / form, interpreted in synesthetic ways.
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in the mood…
in the mood…
With Nurture Studies, Diana Scherer presents an archive of flowers she has grown from seed over a six-month period. Rather than letting the flowers grow in open soil, she has forced each plant to develop within the confines of a vase. Only at the end of the process does she remove the plant’s corset, exposing roots that retain their shape as an evoc of the now absent vase.
There is an inherent contradiction in Scherer’s working method. Although she is dedicated to the project and keeps a close eye on whether the roots are developing as desired—checking them carefully and with the utmost precision—her ability to manipulate the plants’ growth is limited. She has to accept the impossibility of total control. This contrast between almost obsessive monitoring and an inability to fundamentally influence events becomes an intense, almost ritual presence in her work. Scherer’s photos are carefully rationed, showing a single moment as the culmination of a long process of growth. She documents the flowers at their peak, just before they begin to shrivel as the plants start to die.
The photos Scherer has produced for Nurture Studies recall the illustrations in seventeenth-century botanical encyclopaedias, which presented flowers roots and all. Her work also has strong similarities with 1970s plant books, in which indoor plants were often arranged on a pedestal and set off with fabrics that added a romantic touch to the whole. Although clearly referring to these predecessors, Scherer has no difficulty avoiding the perceived cosiness of the “pot plant” genre. Her images are bare, unadorned. The careful observer will notice that most of the plants are anything but perfect specimens. Brown edges and broken stems show that mortality is already making its presence felt. The pink aster’s leaves are already dying off and other plants, dandelion and cow parsley for instance, wouldn’t be deemed worthy of a second glance on the side of the road. Scherer treats them all as equals.
The floral portraits form a pendant to earlier photo series in which Scherer opted for much rawer imagery, things like young girls lying on the ground with their backs to the camera, collapsed like rag dolls, so that viewers almost automatically think of them as victims (Mädchen, 2002–2007). In Nurture Studies this confrontational imagery has made way for subtlety. Although the flowers, with their exposed roots, look just as fragile as the girls, Scherer avoids any semblance of drama, mainly by the objectivity of her photographic style, arranging the plants upright in the frame and photographing them with a technical camera. This approach is consistent with the orderly way collectors catalogue their objects.
