The Mandelbrot Set, like its early-20th-century predecessor the Julia Set, is the visualisation of an infinitely repeating fractal: you can keep zooming into details, which reveal more details, inside which is the original image, and so on.
Its psychedelic patterns have made it a pop-culture favourite since it appeared in the 1980s, and its infinite loop gives rise to this joke about its creator:
Q: “What does the ‘B’ in Benoit B Mandelbrot stand for?” A: “Benoit B Mandelbrot.” Q: “And what does that ‘B’ in Benoit B Mandelbrot stand for? A: “Benoit B Mandelbrot.” (Repeat ad nauseam.)
The paintings in particular are works of memory – the slow development or exposure of a photograph being both a useful metaphor and an actuality in my practice.
The filter of memory appears to retain only what is personally important, and the inevitable mix of my own history and experience fills in the gaps. Only that which remains is important – the extraneous and fleeting are not registered.
The final image is therefore a remnant, the world distilled. This remembered world inevitably fades and decays, and I catch all I can before there is nothing left.
This is my starting point.
The long stretches of time needed to make both paintings and photographs, complement the slow filtering process.
My preoccupation with making photographs during the last moments of the day, for example, is part of that process; the extended moment – the un-decisive moment – allow the image to become a record of time passing.
There is an inherent melancholy in this as each image is something already gone. It is the seeing of things for the last time.
These surreal gothic illustrations are by Alessia Iannetti, all of which are portraits of women and children.
Every piece is mainly monochrome with small pops of color being insects or birds, they show lots of emotion being both innocent yet dark.
In this way her models are called to represent fragile girls on the boundary between mythology and everyday life and they are submerged in the leaves of gray woods which led the artist to manipulate their light and shadows as in the legendary Cameron’s “Glass House”.
Con/struct is the latest body of work from Cape Town-based artist, designer, and photographer Justin Plunkett who uses his own original photography to digitally construct fictional landscapes and structures.
Con/Struct is an exploration into the themes of empowerment and imagination.
Plunkett, using his own photography, has created new juxtaposed environments that encourage questioning and exploration: inviting the debate around how marketing- induced aspiration and perceived value can empower but can also corrupt, how it can be both perverse and create beauty.
At the same time, at the core of his work, he honours and applauds ingenuity and the creative spirit.
The new works were recently on view at the Cabinet, and you can see more on his website. (via Designboom)