Kathy Klein is a devout lover of plants, and she translates this admiration into a series of natural mandalas. They are called danmalas, which means “the giver of flowers” in vedic sanskrit. The colorful arrangements are comprised of different blooms, leaves, and even some vegetables such as peppers. She layers a variety of textures and shapes into circular patterns that converge in the center.
Klein describes how she crafts these pieces, and it’s about around being in the right state of mind. First, she situates herself in a meditative devotional space. Next, she gathers flowers and other natural objects while her mind continues to be still. She finds inspiration from the golden sound that resides in silence. “These offerings are reflections of the inexpressible, a gesture which points towards life’s abundance, an unspoken verse of Love,” Klein writes. “The danmalas remind us all to listen to the unheard voice of nature, creation, and the eternal mystery.”
If you too are a plant lover (or mandala lover), Klein has many, many more danmalas on her website. (Via Faith is Torment)
KHUAN+KTRON is a three person design studio based in Belgium, though its members come from all over – Japan, Russia, and, uh, Belgium. Their varying backgrounds is clearly a boon to their work, which shows a lot of influences. Actually, KHUAN+KTRON have helpfully listed some of these influences on their site, so we don’t have to guess at what they are – medieval torture techniques, people with monstrous sideburns (not counting women), and free jazz are just a few. Check out the full list on their site!
Yes Yes!! I’m enamored with these drawings by Hope Gangloff. A touch of that downtown super-cool, but with a candid feeling of tenderness – Hope has a distinct way of making you feel like you know these people, and that you’re sharing a special moment in time with them… Or at least I’d like to…
Interested in transformation and inspired by his local landscape, Portuguese photographer Tito Mouraz captures the manmade metamorphosis of his surroundings in his book and photographic series, Open Space Office.
Over the course of three years, Mouraz documented an increasing number of human-driven changes to a landscape once familiar to him. Railroad tracks bisecting boulders, tires sitting in murky runoff, and electric cords lining rock formations are just a few examples of the interrupted environments chronicled in Open Space Office, which the photographer describes as “completely and irreversibly transformed.” He explains:
. . . The work presented aims to portray a reality that suffers an ongoing daily process of rapid transformation. Therefore, the pictures show a temporary reality inserted in a natural landscape undergoing progressive transmutation. They are unique and imposing spaces with an undeniable visual impact which bestows on the images a strong formal and plastic content.
Unique and revealing, the 24 images presented in Mouraz’s Open Space Office offer a striking glimpse into a transformed landscape and, ultimately, convey the enduring—albeit complicated— relationship between man and nature.
The world seen through the eyes of Charles Darwin forms the basis for the performance ‘Tomorrow, in a year’. Danish Theatre production company Hotel Pro Formas striking visuals blend with pop-duo The Knife’s ground-breaking music to create a new species of electro-opera. Unfortunately by now the opera might have stopped touring (it began in September of last year) but go check out the clips on Youtube, they look amazing! Kind of reminds me of Wooster Group’s La Didone – but in my opinion, a bit more accessible and requires not so much prior knowledge to digest.
Blair Whiteford lives and works in New York. His fragmented paintings blur the line between figuration and abstract expressionism like the Bay Area Figurative Movement in the 1950’s. In his own words, “I am interested in the way that a body interacts with its surroundings. The images that I create depict bodies and spaces that are constantly being altered by a hypothetical understanding of the space that the figures are experiencing. While creating my recent body of work I have been particularly interested in the space that exists in between non-objective abstraction and representation, allowing the two to transform into one another throughout the paintings.”