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      In ‘Eyes as Big as Plates,’ Sculptural Garments Camouflage Subjects in Natural Environments

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      Art
      Photography

      #books
      #camouflage
      #landscapes
      #nature
      #portraits

      February 11, 2022
      Grace Ebert

      Eyes as Big as Plates # Andrea (Outer Hebrides 2019)
      Hailing from fifteen countries, the individuals participating in Eyes as Big as Plates have backgrounds as varied as their surroundings: there are zoologists, academics, and librarians; fishermen, wild boar hunters, and Sami reindeer herders; and opera singers, kantele players, and artists. They’re tethered by the ongoing project, which dresses each figure in sculptural wearables made of organic materials that allow them to blend in with the surrounding landscape.
      Launched in 2011 by Norwegian-Finnish artist duo Karoline Hjorth and Riitta Ikonen (previously), Eyes as Big as Plates hinges on the idea that it’s essential to explore how humans exist within nature. The portraits center on lone figures partially camouflaged with their backdrops or outfitted with imaginative garments constructed with objects found nearby. Boubou (shown below), for example, is a Senegalese fisherman who wears a mesh shawl of sea creatures, while North Tolsta-based photographer Andrea (above) is almost entirely masked by spindly branches and peat near her home. Every portrait comes after a conversation with the subject and a collaborative effort to find the proper location and attire.
      The duo has now compiled dozens of photos in a forthcoming book that marks the 10th anniversary of the project. A follow-up to their sold-out first volume, Eyes as Big as Plates 2 is comprised of 52 new portraits, conversations with those featured, and field notes from their travels. “While transcribing the interviews for each of the collaborators here, we got to experience what many of them often say is the most exciting part: ‘ … just being there, looking at a familiar landscape like you’ve never looked at it before. Letting the surroundings wash over you,’” they write.
      Eyes as Big as Plates 2 is currently available for pre-order on the project’s site. Some of the series is on view through June at the landmarked entry at 200 5th Avenue in New York and will be up this May at London’s Barbican and at the Harbourfront Centre in Toronto in September.

      Eyes as Big as Plates # Boubou (Tasmania 2019)
      Eyes as Big as Plates # Liv (Norway 2017)
      Eyes as Big as Plates # Momodou Toucouleur (Senegal 2019)
      Eyes as Big as Plates # Mr Oh (South Korea 2017)
      Eyes as Big as Plates # Niels (Faroe Islands 2015)
      Eyes as Big as Plates # Scotty (Tasmania 2019)
      Eyes as Big as Plates # Sinikka (Norway 2019)

      #books
      #camouflage
      #landscapes
      #nature
      #portraits

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      Explore Rembrandt’s ‘The Night Watch’ in Astounding Detail in an Interactive 717-Gigapixel Photo

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      Art
      Photography
      #art history
      #paintingJanuary 4, 2022Grace EbertAll images courtesy of RijksmuseumTotaling a whopping 717 gigapixels, a new photo of Rembrandt’s 1642 painting “The Night Watch” unveils an astounding array of minuscule details and precise artistic choices behind the Dutch Golden Age masterpiece. A team at Amsterdam’s Rijksmuseum, which is currently housing the art historical work, captured 8,439 individual images to create the gigantic composite that leaves just 0.0002 inches between each pixel, which themselves are smaller than a red blood cell.One of Rembrandt’s most iconic works, “The Night Watch”—its formal titles include “Militia Company of District II under the Command of Captain Frans Banninck Cocq” and “The Shooting Company of Frans Banning Cocq and Willem van Ruytenburch”—stretches 11.91 x 14.34 feet and is evidence of the artist’s famed use of light and shadow and ability to imbue movement into the cast of nearly life-size characters. Rijksmuseum’s composite now shows the cracked texture of the paint, brushstrokes, and slight pigment variations that wouldn’t be visible even if you were standing in front of the work itself. Zoom in on hard-to-see spots like the blurred fur of a reactive dog, the gleaming light that bounces off guns and the figures’ ornamental clothing, and the gray-blue tones underlying the captain’s facial features. The magnifiable image also retains evidence of the damage done by a knife gash in 1975.In addition to this project, the team used artificial intelligence to restore pieces that had been cut off the original painting in 1715, including two shooters on the left side and part of a soldier’s helmet on the right. You also might enjoy this 10 billion pixel panorama of Vermeer’s “Girl With a Pearl Earring.” (via New Atlas)
      #art history
      #paintingDo stories and artists like this matter to you? Become a Colossal Member and support independent arts publishing. Join a community of like-minded readers who are passionate about contemporary art, help support our interview series, gain access to partner discounts, and much more. Join now! Share this story  More