An áit a bhuil do chroí is ann a thabharfas do chosa thú.
Your feet will bring you to where your heart is.>
We’ve seen the cosmic visual effects that come along with developing a roll of 35mm film after its gone unused for year, but what happens when you leave a superstorm the likes of last year’s Hurricane Sandy to have its way with the artifacts of your purist medium?
This, apparently. Now I wish I could say “Hurricane Sandy developed this guy’s film,” or some such punched-up header, but as whimsically dream-like as these images are, that likely isn’t the case. Their seemingly random development patterns could have been the result of floodwaters oxidixing the Kodachrome (or whatever brand equivalent) prints, true. But that’d be a stretch—the chances of water alone developing “any silver-based film, especially color film, and especially especially slide color film,” Reddit user brie-otch writes, are pretty slim. More likely the photos were already developed, leaving Sandy’s waters to warp the photos into gauzy, water-colored vestiges of their former selves.
- by Brian Anderson
No, but seriously.
This animation is absolutely glorious. Just take a moment to appreciate that this was all done by somebody’s hand; that they slaved over this, and this was the result of a human, not a computer. It’s completely perfect.
that’s why i love old cartoons more
move your finger back and forth so it looks like the cat is following it
This is more entertaining than it should be.
This is why I love Tumblr.
two hours later i click reblog
five hours later i click reblog
It’s more fun if you move a quarter of a second before the cat does so it looks like it has a shitty reaction time
The artist’s statement:
Alexa Meade and Sheila Vand have collaborated on a body of work that explores the fluidity of form in relation to time and space. By stripping the subject of depth and dimension, a displacement of identity ensues, demonstrating the power of context over content.
Meade’s signature style of painting portraits on the body is submerged in a canvas of milk, where Vand’s performance is dictated by the opposing forces of fixed shadows and fluid space. Together, the artists compose an expressive identity for each image, but as the milk interacts with the pre-arranged pose, a new identity is formed that must be constantly re-imagined and re-shaped in the moment. As the paint seeps away into the milk, Vand’s performance must continually shift to accommodate its new context and form while Meade’s photography must capture the ephemeral moments before they de-materialize. The result is an ever-evolving, time-based portrait that includes every layer of the process within each consecutive frame. Each new visual identity is a product of the versions that came before.
The surface of the milk intersects Vand’s body at an uneven and unusual plane, creating a sense of movement and depth beneath her compressed form. This play on dimensionality in the picture plane evokes an optical illusion that activates the viewer’s experience by challenging their common perceptions. The identifiable becomes ineffable, giving the flat photography of the painted three-dimensional space an unsettling tone. By blending the borders between the subject and its surroundings, identity is muted and we’re left with the distilled nuances that shape the space.