ART LITERATURE ARCHITECTURE DESIGN GRAPHIC DESIGN
KRABBESHOLM ALLÉ 15
DK 7800 SKIVE
(+45) 9752 0227
> INVISIBLE CITIESDESIGN
> SPACE FOR A CONVERSATION
> REPRODUCTION OF SPACE AND ATMOSPHERE
> STUDY TRIP MARSEILLE
> OBJECT SURFACE DECORATIONGRAPHIC DESIGN
> FIR AND FELT
> 28 LAMPS
> WEAVING AND EMBROIDERY
> SHIRTS AND FURNITURE
> A SITE SPECIFIC BOOK PROJECTLITERATURE
> VISUAL COMMENTS
> EXHIBITION AND BOOK RELEASE
> GRAPHIC DESIGN CAKES
> ROADTRIP BRNO
"imitate [...] nature's way of creating.”
But, even if the images did not provide the symbolist Strindberg with solid proof that his method was a more truthful way of representation than conventional photography, his chemical naturalist-approach initiated the methodologies of the formalist art of the 20th century.
As such, we have spent the week investigating the various potentials of the photographic material. Inspired by artists working in the field of camera-less photography, we have become acquainted with photography’s phenomenological outset: that the word ‘photography’ means 'light drawing' and that it is, in fact, light and darkness that are the basis ingredients for analogue photography.
After experimenting with various types of photograms, we set out to remake Strindberg’s celestographs by placing photographic paper directly on the ground and letting it be exposed to the night sky. Acknowledging, however, that the patterns resulted from frost, dirt or dew rather than the starry sky, we wanted to give the pictures a more appropriate name that directly reflected on the actual process that the papers had undergone before being developed. After having discussed various names and combinations, the eventual choice was 'Nychtagraph' – night drawing – which is a combination of the Greek words for ‘night’ and ‘drawing’.
Guest teacher: Marie Kølbæk Iversen