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Filip Kos
Side by side earth and sky
Size: 3590x2019 pixels, 72dpi, bit depth 24. View from the Hill of Tara, Boyne valley, Co. Meath, Ireland. These sacred grounds predate the pyramids and are known to have extra ordinary healing properties. It’s a place where the kings of Ireland lived. This image is composed from multiple photographs, which are stitched together capturing the summer solstice of 2012. “Side by side earth and sky” is an abstract image expressing balance, harmony and life.
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Madeleine Blake
Air II
Political lines drawn on maps, partitioned oceans and mountains, 'them' and 'us'- what do borders really mean? And why do we crave these different kinds of division in our world?
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Isha Bawiskar
SPACE V
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Alyssa Gutner-Davis
Tracing Footsteps
11x17in This project began as an exploration of curiosity. What lurks in the dark? What does the world truly look like at night? What aren't we seeing? Do the places we visit hold any trace of our passage through them? Is it possible to truly leave a mark on the world? Night photography grants us a glimpse of the world as we will never know it. When we extend the length of our exposures, it is possible to distort and transcend our view of a scene. By their very nature these photographs capture not only space but time. Many moments are compressed into a single image, an image that can trace the haunting trails of our journeys through this world.
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Yasmine Bennis
The destination is not the journey
Meknes, Morocco As part of a highly communitarian society , women in Meknes (Morocco) accompany one another in running their daily errands or paying other friends or family a kind visit.
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Alejandro Morales
Espejo de lo Real (Mirror of the Real)
Newsprint from Ciudad Juarez, México, manually intervened removing dead bodies with an eraser, then digitized. The image shows a crime scene in the Río Bravo, the border between Juarez (MX) and El Paso, Texas (USA). The title alludes to Lacan's Real, in relation with Freud's term Unheimlich where the obscene and sinister appears. This kind of press where images are shown with no boundaries are strangely familiar for those who live in the Border.
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Alyssa Navas Hutton
FENCE (Video)
https://docs.google.com/open?id=0Bw-uaWOOSJVHSGxfWlFmaXlqZm8
FENCE follows the U.S.-Mexico border wall between the two ports of entry between San Diego, CA and Tijuana, BC. The westernmost port of entry between the southeast San Diego community and San Ysidro and Tijuana’s downtown/tourist district is the busiest international port on land in the world. The Otay Mesa port of entry was constructed to relieve the commuter and tourist heavy port of commercial trucks, and made for a crossing that was closer to the manufacturing zones in the outskirts of Tijuana. The divisive wall that scars the landscape is denied by daily commuters who regularly breach the international divide and is used to memorialize those lost attempting to cross it.
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Shay Mazloom
In-Between
“In-Between” resonates with ideas about displacement and imaginative geography. Taken in different places near borders of Iran, an anonymous figure is pictured entwined in an endless white cloth. The central idea refers to artist’s personal experience of departure and returning to the country and the paradoxical state of living in a space in-between belonging and banishment, housed and unhoused and loss and presence. Photos are taken in a mosaic method and then assembled together to refer to the mental situation of fragmentation and dislocation. Some parts are missed through this process of deconstructing and reconstructing of the self.
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Faquih Shahrukh
Worthless Valuable
BOUNDARIES : NO MANS LAND a 3-D installation. It is my interpretation for boundary, where I want to give more importance to the fence instead of to the land or the territory, behind it or guarded by it. WORTHLESS VALUABLE is what I would call it.
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Faquih Shahrukh
Hands of Freedom
BOUNDARIES : NO MANS LAND a 3-D installation. No man’s land, a piece of land, which is under no ones jurisdiction, is yet considered so precious. Here I have highlighted the barbed wire as its given more importance. A barren piece of land is even fenced nowadays.
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Kristina Rutar
Relations
My work is to explore the relationship between wheelthrown, craft object and sculpture, exploring techniques of pottery forms within wheelthrown bodies. I am dedicated to exploring the potential that the wheel offers as a tool for artistic expression. I construct, reconstruct, install wheelthrown forms in areas where its function is no longer usable and will be perceived as a sculptural object. Wheelthrown bodies in Slovenia aren't valued as high art but as traditional craft's work. I want to cross the boundary between craft and sculpture.
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Egle Sitkauskaite
Messages to Home
2cm*3cm Text messages and emails are the way people communicate in our days. My "Messages to Home" are made from my sketches, peaces of map, found paper from fragments of my daily life.
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Livia Kožušková
Blind Spot
different sizes, A5 - A3 My project is concerned with the human perception, basically with the problem of the growing influence of visual media and visual images in the lives of individuals and society. Human addiction to visual stimuli and images causes huge changes in the way people feel and perceive. The result is structural changes in the human brain. The name of my work is "In the Middle or Between". The thin border between "human blindness“ and ability to See. Today people are under the pressure of visual storming. The things around are just black or white. Where did the grey shadows disappear? Crossing the border means to cross yourself, your personality. People are loosing the ability to be sensitive to the outher world. What is the border between sensitivity and insensitivity in human beings? Can we measure it?
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Koshal Hamal
Paintings of Miniature Paintings
60 x 90cm (each panel; a,b,c,d,e,f) This particular painting represents traditional miniature paintings in India. Its all about the notion of identity and the representation of misrepresentation through using frame as a metaphor for contemporary socio-cultural value.
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lixiaoqiao
Untitled (Series)
Digital print and screen print on found pieces of wood.Awesome texture on the wood surface: I tried to mix digital print and screen print on the transfer paper, then I transferred it to the wood surface. This process resulted in special effects. -
Arezoo Bharthania
Entropic Future
Reflecting back on memories of my hometown Tehran, I often think about its current state and the issues that have made it the polluted city it now is, metaphorically and literally. The problem goes beyond the geographic and economic situation. My work thus simulates layers of pollutions, uncontrolled constructions and the ever-growing population in this city.
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Delaram
Interaction
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233
Traversing the Wall (Video)
https://vimeo.com/emergentartspace/review/51954033/5717c96f00
Length: 1:50 Once, the young Saharawi Sidahmed Salek, who lives in the refugee camps of Tindouf, told me he could pass through the Wall of Shame which no one had done before, neither bullet or hidden mine could affect him…as if he were an unbreakable material, an inalterable substance, a divine being, a soul full of purity, a painful truth, impassive and impossible to hide…and as if he traversed without fear.
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LiuYi
The Stage (1)
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LiuYi
The Stage (2)
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Rachel Marks
La curiosité de la langue
58 X 46 cm This work is about the process of learning a langue and the heavy world that it imposes.
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LiuYi
The Stage (3)
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Lindsey Allgood
Spinning (Video)
https://vimeo.com/emergentartspace/review/54743453/ef4c5e86ab Spinning explores the physical and metaphorical boundaries between bodies. We bind together, we rip apart. Two become one, and then divide. Mirroring each other in white dresses our goal is to wrap ourselves together as tightly and as tangled as possible with a skein of red yarn. In our organic unscripted action, we press into and pull out of each other's psychic and physical space. We respond to each other's movements in a physical conversation. In our silence, we press into each other's bodies, and feel the awkward sensations of each others' warm flesh inside someone else's aura of comfort. This piece demanded our complete awareness of our visceral perimeters. For us, the yarn became our veins and strings of thought; the yarn rubbing against our skin left raw red marks which became criss-crossing maps imprinted on our bodies. We were twins in a womb, simultaneously attacking and loving each other. We were lovers embracing, then, we severed our connection with a hack saw. Like the Fates of Greek Mythology, we cut the thread of our brief union. But can we really completely separate from one we've been intimate with? Where does embrace become entanglement? When does a binding become an enfolded caress? In these moments of tension and union, where does my body end, and yours begin?
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Sydney Lowe
Some called me an anomaly, oxymoron
In the past three decades, thousands of African immigrants have entered Italy, bringing enormous change to the country’s cultural landscape, change that presages intriguing multiracial dimensions for the future. Already we see a black Brescian Mario Balotelli recognized as a star athlete and ethnic symbol. Almost a million foreign young people now account for 7.5% of the student population living, thriving and helping to shape the character of Italy. During this exciting emergence of a multiethnic Italy, my portraits of Bolognese Italian African youth ask viewers to consider how do they see themselves, how do others see them and what are the ways in which they wrestle with and appreciate being both Italian and African—a concept that not so long ago would have been considered an oxymoron, but is now increasingly accepted by Italians, black and white.
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Sydney Lowe
Of Balotelli
In the past three decades, thousands of African immigrants have entered Italy, bringing enormous change to the country’s cultural landscape, change that presages intriguing multiracial dimensions for the future. Already we see a black Brescian Mario Balotelli recognized as a star athlete and ethnic symbol. Almost a million foreign young people now account for 7.5% of the student population living, thriving and helping to shape the character of Italy. During this exciting emergence of a multiethnic Italy, my portraits of Bolognese Italian African youth ask how do they see themselves, how do others see them and what are the ways in which they wrestle with and appreciate being both Italian and African—a concept that not so long ago would have been considered an oxymoron, but is now increasingly accepted by Italians, black and white.
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Ann Le
Mother Refuge
Inspired by the waves of boat people from 1978 to 1982 and my family’s treacherous voyage, my wallpaper portrait Mother Refuge speaks about my mother's miscarriage of my older brother while traveling by foot thru shallow waters along a mountainside of Northern Malaysia. An estimated 400,000 Vietnamese people escaped between 1978 to 1981. It was not uncommon for entire boatloads of escapees to die at sea. Ten percent to half of all escapees lost their lives to the sea, while one third of all refugees were victims of robbery, rape, or murder. The detailed elements in the wallpaper include a fetus being carried away by a lotus flower, silhouettes of people traveling on a boat, a pirate emblem, and cherry blossoms. The fetus is white representing the color worn by the Vietnamese people during funerals. Rather than wearing black, white signifies the celebration of life, not death. The lotus flower naturally grows in muddy water and represents a purifying of a spirit, born into and through murkiness. The lotus is a metaphor for life and death. The pirate emblems are purposely depicted faintly because when we think of pirates, we think of thieves and murderers. The pirates my parents and sister encountered at sea however, saved their lives. The pirate emblems are quietly embedded into the background, like fading images in our memory.
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Ann Le
Rorschach Technique
My wallpaper portrait titled Rorschach Technique merges the shape of Vietnam into itself and then cradles the shape of the United States. The shapes of Malaysia and Canada mirror themselves like inkblots, but are also intertwined with Vietnam’s country flower; the cherry blossom. The faintly traced hibiscus flowers of Malaysia in the background honor the short period of time my parents and sister were in the country’s refugee camps. The yellow of the country shapes is the same color used in the Vietnam flag. The colors used to fill in the cherry blossoms are the exact colors of the United States flag. The integration of both the cherry blossom and hibiscus flowers signify the duality of my native country Vietnam, and the country in which I was supposed to be a born citizen, Canada. The Rorschach Technique is used to examine a subject’s personality characteristics, emotional functioning and perceptions, which inspired the visual impact of my wallpaper equally named Rorschach Technique.
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Elham Masoudi
Anahita
size:100*150 Anahita is the Water Goddess in Myths of Ancient Iran. She sends down water and fertilizes virgin land. Anahita stands on a pedestal of ice. She is a representative of the Iranian girl.
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Aviwe Plaatjie
Long Awaited
The figure in black and white is frozen in her momentary interaction with herself and her surroundings Encased in the black background, the narrative of one body becomes the capturing of a moment, a freezing emotion or a contemplation of the subject.
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Kristina Stuokaite
Social fantastism
2.5 m, height - 2 m Allusion to inner harmony and memories.
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Isha Bawiskar
MY WISH
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Siddharth Gautam
Untitled
The image is a result of a collaboration between two artists, living continents apart, Christiano Penso from Rhode island, USA and Siddharth Gautam from Bangalore, India. The images were relayed back and forth between each person multiple times and each one would add or subtract from them. From the beginning, both of us were excited and intrigued by how in the virtual space, geographical location really doesn’t matter and there really are no borders like there are on a map, and the two of us can make something together! Moving us away at times from the physical landscape that we live in, this virtual space influences us, our cultures, and gives rise to a hybrid landscape of our thoughts, memories, and personalities. The form of the image has evolved from the miniature painting tradition of India, where in a small image, multiple narratives are conveyed.
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Christina Kerns
Adele
The quiet interiors in “Still, Life,” reveal the mundaneness and absurdity in the social act of collecting and accumulating. Each documented space reveals the personalities of the inhabitants through their collection and archiving of personal effects and objects. An idea related to identity, “the extended self,” proposes that each ‘person’ does not merely end at his or her body. Much of who we are can be viewed through beloved objects and personal spaces (in more than an economical way.) In “Still, Life,” each individual curates a space filled with personal importance and symbolism. The photograph reveals a façade, allowing a recreation of each individual through his or her collection. (This work was shot during a photographic residency "Lugo Land" in Lugo, Italy.
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Nicole Cataldo - Davies
Illuminate
ILLUMINATE: Illuminate explores the question ‘what are our riches?’ – what we consider to be our riches and the communities, families and strangers we share these with. Through one to one participatory performance ritual, illuminate seeks to offer a space and arena where audiences can withdraw to reflect and contemplate and to feel honoured. Using copper crowns inscribed with participants words, an element of shamanic and ritualistic practise is called upon through the chanting of questions. Would you be willing to share these meaningful things with a stranger? These conductive-copper, thinking crowns have been inscribed by artists, teachers, lawyers, parents, brothers, sisters, friends and being alike – with words that are alive, words that are in movement, who’s exchange is for free and for freedom. Your head is worthy of a crown Come let us share our riches together.
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Prasanta Ghosh
the dead’s
The daily presence and absence of lives....
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Shen Beini
Dream Back to Tianjin (Video)
https://vimeo.com/emergentartspace/review/54744247/4d26f564f8
I used the image recording living space, projected to the physical body. Reaction previously invasion through the ideology of people. With the current "I" to look back to the city past and present, history and today reunion.Tianjin is one of China's most ancient city, a separatist colony during the war, it is burdened with a heavy historical imprint. Gradually westernized Chinese today, it is final to retain Chinese traditional characteristics: folk art, comic, Allegro, storytelling.I record the life of the city, projected images on my body space, manufacturing into a scene of Dreaming, the reaction in the past through people ideological invasion. With the moment of the "I" to look back the past and present of the city, the history reunion today.The five-year life of Tianjin, it will also become history. I came to understand the experience of a country before peers and my personal history. Human experience is a perfect part, numerous succinct After, you go on which road alignment which groups of people and life, fragmentary experience of the past seem to be able to deduce that entity person, but a city, a book, a story ... and it is me, is you. -
Rachel Marks
Identité au travers d’une langue
58 X 46 cm This work is about the process of learning a language and the burden that it imposes.
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Shahrzad Ahrar
Praying: My Internal Challenges
My internal Challenges 1 in a series of 3 This series represents the borders between east and west
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Shahrzad Ahrar
Home/Outside:Should I stay inside of my home’s borders or I should get out?
2 of a series of 3 This series represents the borders between east and west
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Shahrzad Ahrar
Hijab:Crossing the borders between traditions and modernism
3 of a series of 3 These images represent the borders between east and west.
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Amanda Karlsson
My Tribute
I illustrate this tribute by using pictures of people at exhibitions from my favorite artists. I didn’t include the works from these artists, only the viewers because that’s where the importance can be found. A tribute to the artist that create the work and a tribute to the viewing audience, that creates the meaning. Thus art isn’t individual, it is creative perception that lies beyond the individual work. Not crossing the border between, instead breaking it.
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Justin Cloud
Anxiety Society
This image depicts a man in a Hazmat suit in a library.
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Livia Kožušková
The Blind Spot
different sizes, A5 - A3 My project is concerned with the human perception, basically with the problem of the growing influence of visual media and visual images in the lives of individuals and society. Human addiction to visual stimuli and images causes huge changes in the way people feel and perceive. The result is structural changes in the human brain. The name of my work is "In the Middle or Between". The thin border between "human blindness“ and ability to See. Today people are under the pressure of visual storming. The things around are just black or white. Where did the grey shadows disappear? Crossing the border means to cross yourself, your personality. People are loosing the ability to be sensitive to the outher world. What is the border between sensitivity and insensitivity in human beings? Can we measure it?
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Heidi Cramer
Adrift
Adrift is a boat made entirely of lace and suspended by strings and wire to evoke a sensation of movement and space. The boat is a suggestion of travel, leisure, danger, motion, adventure and masculinity while the lace is suggestive of the feminine, the fragile and the domestic. By rendering the boat in a material such as lace, the audience is left with only the suggestion of a boat through form and space and their own memories. Once the utilitarian aspects of a boat have been deprived, the audience is free to contemplate the lace material and the lights that passes through the designs and cast patterned shadows across the floor. The space becomes haunted by the feelings of romance, distance, longing and memory.
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