stephan zirwes began taking photographs while hanging, harnessed, out of an open helicopter in 2000, and since then has mastered his own language of aerial photography. zirwes now uses both helicopters or drones, his preference depending on his subject. as can be seen in his latest ‘football‘ series, zirwes’ technique of flattening his subject into an orthographic, symmetrical field results in an unnatural perspective of familiar content. his clean formal language focuses the viewer’s attention on his theme with a simple elegance, his photography seeming almost like a graphic.
all images © stephan zirwes
as can be seen in many of his series, zirwes‘ strategy of the ‘real-picture-graphic’ presents the viewer at first glance with a field of patterned dots and textures. when observed more closely, recognizable figures, buildings or actions take shape. in the case of his ‘football’ series, he turns the familiar field into an abstract field — particularly those fields obscured by an unusual site condition, such as an arid, desertous field of morocco. although his photographs are barely edited, each has a deceptive, artificial quality. the goal is to depict an ‘over-reality’ — leaving the viewer questioning what is artificial and what is true.
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tokyo in the 1970s, a pre-blade runner city, amazing unseen photos by greg girard
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to mark the release of his latest book, 'tokyo-yokosuka 1976-1983', the photographer shares a collection of largely unseen images.
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carved into the sand, 'voice of the sea news' speaks for the sea which suffers in silence
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tokyo-based toshihiko hosaka with a team of students and local residents completed the colossal earthwork article in eleven days on japan's iioka beach.
tokyo-based toshihiko hosaka with a team of students and local residents completed the colossal earthwork article in eleven days on japan's iioka beach.
'walking wall' by andy goldsworthy migrates across a five acre stretch of landscape
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the stone wall will physically 'walk,' or migrate incrementally from the eastern end of the museum to its final resting place.
the stone wall will physically 'walk,' or migrate incrementally from the eastern end of the museum to its final resting place.
haruka misawa undulates glass to create delicate aquariums in ‘waterscapes’
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designer haruka misawa reimagines fish environments as sophisticated water landscapes featuring sand dunes and transparent islands.
designer haruka misawa reimagines fish environments as sophisticated water landscapes featuring sand dunes and transparent islands.
