#ephemeral gaze nyc

[herewegobebe]

TAEMIN | 'Ephemeral Gaze' NYC 💞🌹 [x]

[scatteredfangirling]

taemin: this isn't brooklyn, right?

taemin, with unfounded confidence: yeah, this isn't brooklyn

also taemin: IS this brooklyn? 👀

staff: yes~

taemin: oh... 🙃 this is brooklyn... 🫠

BONUS: taemin panic

[acebase]

250214 Taemin Ephemeral Gaze World Tour Concert in NYC

[taemcutie0718]

TAEMIN Ephemeral Gaze World Tour in NYC [Full 4K Fancam]

[olympivnshq]

congratulations clara ! your rendition of PERSEPHONE was well-rounded, and we appreciate that you went out of your way to read the different versions of her myth, and deeply grateful that you understand our vision in representing each part of her myth the good and the bad in an honest way. we can’t wait to see how she develops under your care with your second faceclaim choice: BLAKE LIVELY.

☆ﾟ*・ﾟ  OOC INFO.

Clara, 25+, she/her, GMT 11+ Sometimes I drink so much coffee I can hear colours and I have a bulldog called Lola and she is the most stubborn person I know.

☆ﾟ*・ﾟ  DEITY  —  GENDER. AGE RANGE.

PERSEPHONE — FEMALE. 29-33

☆ﾟ*・ﾟ MORTAL NAME. JOB/OCCUPATION. BOROUGH/NEIGHBORHOOD.

Laurel Attwell. 29-32

Her Office is in the Upper East Side and, while it might feel as though she lives there, she rests her bones in Hell’s Kitchen.

Laurel is a Wills and Estates Attorney for high net worth clients. Her favourite part of the job is putting her clients’ affairs in order so that they (and their families) might be at peace after they pass. She is not so adept at tolerating the families who choose to ignore the wishes of the deceased but has been known to relish defeating them in court should they contest the Will.  Laurel also sits on a board for Legal Aid NYC and is passionate about finding representation for people from disadvantaged backgrounds.

☆ﾟ*・ HOW WOULD YOU PLAY THEM?

Persephone, Dread Queen and protector, maiden and bringer of spring, is a Goddess of two worlds, irrevocably and continually changed by each. Like the spring that follows in her steps she is warmth and vibrant life and hope. She is the daughter who loves her mother, who runs wild with nymphs by streams and gathers flowers in meadows. She is the maiden, dragged into the Underworld where she became its queen. She saw that her throne was not below her husband’s chair but beside it and under his gaze she, like death, became certain, constant. When she was called back to Olympus, she accepted Hades’s offer of partnership as she accepted his pomegranate seeds for, even as she desired, needed, to be with her mother and to bask in the light of the world, she would not abandon her new kingdom entirely. Just as spring chases away the cold before it marches into summer so did she learn to become relentless, undeniable. And yet, she is patient. Hers is a patience born of waiting, but it is not an idle patience. She is as the stream, slowly wearing its way through a stone. As was decreed by Zeus through each cycle of her life she enters the Underworld a Maiden and leaves a Queen.

Laurel was stolen away from her mother by the idea of a city and the practicality of a job. She escaped her backwoods, nothing beginnings, clawed her way to college, and then to a respected law school. The spectre of her past haunts her. She is too pretty, too young, too something that is anathema to an older gentleman in a suit to be taken entirely seriously in her role as attorney, selling her soul for the whims of wealthy old clients who cannot see her worth. And then there is the mother she has not entirely escaped, who calls too often (whose calls she relies upon, craves, even). She escapes sometimes, when it becomes too much, when her nerves fray and she chips the pomegranate red polish from her nails until her cuticles bleed. They say she is high-strung, wound too tight, lacking an appropriate work-life balance (as if it were something finite to be achieved and not ever evolving due to circumstance; like her desire to work were something she could neatly switch off). Farmers markets and community gardens are a temporary salve but often she craves more. The isolation of a private cabin in the woods. A shack off grid in the mountains. Somewhere she is unreachable, surrounded by nature with only her own thoughts. Somewhere that she can breathe. She thinks she might escape permanently, some day, but the thought is always tinged with sorrow; she fears she will miss this city if ever she leaves it. Regardless, it is a problem for a later day, a different season of her life. For now she remains in the city, tethered by contracts and leases and promises.

answer these questions: 1. would you like your character to be entering the roleplay at this stage in the plot, with or without their memories?

I would prefer her to be without memories if possible, or at least to be in the earlier stages of regaining them. I’d like to explore the trickle of memories and how she reconciles who she was with who she believes herself to be.

2. are they more likely to stand with the pantheon or against it?  ( if you are choosing a god they may endeavour to dismantle it for whatever reason )

Persephone’s view of the Pantheon would likely depend upon a number of factors including where her mother stood, where her husband stood, and how the Pantheon’s actions might affect the mortals. Her mother stood against the Pantheon once before so it is not outside the realm of possibilities that Persephone would do the same, though she would likely need a very good reason to take a stand at all.

3. what is their stand on mortals?

Persephone views mortals as ephemeral, but more lovely for it. Their lives are fleeting and yet one mortal can achieve much in their lives. Or they might squander it, accomplishing little. As Queen of the Underworld, Persephone has a great fondness for those who make the most of their short lives and it is to these she grants reincarnation and the chance to earn a place on the Islands of the Blessed. As a Goddess of Spring she nourishes the mortals as she brings life back to the world.

She cares for them in life and in death, likely having a more compassionate view of them than many other Gods and Godesses.

☆ﾟ*・ GIVE US A SAMPLE OF YOUR WRITING!

CHOOSE AT LEAST one OF THE FOLLOWING OPTIONS

A SAMPLE PARAGRAPH:   writing sample redacted for privacy

☆ﾟ*・ ANYTHING ELSE?

A pinterest board. It’s new! But I will add to it: https://pin.it/pzjsrilw3ev7e5

Lyrics:

I said oh my god I see you walking by

Take my hands, my dear, and look me in my eyes

Just like a monkey I’ve been dancing my whole life

And you just beg to see me dance just one more time

***

My heart’s been borrowed and yours has been blue

All’s well that ends well to end up with you

Swear to be over-dramatic and true to my

Lover

***

Oh don’t you wonder when the light begins to fade?

And the clock just makes the colors turn to grey

Quote:

“Tenderness and kindness are not signs of weakness and despair, but manifestations of strength and resolution.”  Kahlil Gibran

[foxyou-too]

Volume de SOFTlab sur Vimeo.

http://softlabnyc.com/portfolio/volume/

Volume was commissioned by HP for The Lab, an interactive experience combining many bespoke installations by various NYC based artists and curated by Meta, at the Panorama Music Festival in NYC.

Volume is an interactive cube of responsive mirrors that redirect light and sound to spatialize and reflect the excitement of surrounding festival goers. The paired down details of the installation are meant to foreground the use of light and sound as fundamental building elements of space. The installation redraws the line between what is considered ephemeral vs. physical as the installation remixes space and the character of the festival goers while gazing back at them with empathy and exuberance.

The installation was inspired by the ability of light and sound to form space through reflection and their dependence on atmosphere. Although we often consider this space empty, the air around us is a material made of many particles. Small changes in this volume of transparent material allows light and sound to move through space. The mirrors in our installation represent these particles acting in harmony to challenge and enhance what we see.

The installation is made of a grid of 100 mirrored panels that each rotate individually. An array of depth cameras above track people as they move around the installation. Using a weighted average of the various people being tracked the mirrors rotate to face the nearest person. Individually addressable LEDs along the sides of the mirrored panels respond to the ambient sound in the space around the installation.

[shinjukuinnvideo]

Volume from SOFTlab on Vimeo.

Volume was commissioned by HP for The Lab, an interactive experience combining many bespoke installations by various NYC based artists and curated by Meta, at the Panorama Music Festival in NYC.

Volume is an interactive cube of responsive mirrors that redirect light and sound to spatialize and reflect the excitement of surrounding festival goers. The paired down details of the installation are meant to foreground the use of light and sound as fundamental building elements of space. The installation redraws the line between what is considered ephemeral vs. physical as the installation remixes space and the character of the festival goers while gazing back at them with empathy and exuberance.

The installation was inspired by the ability of light and sound to form space through reflection and their dependence on atmosphere. Although we often consider this space empty, the air around us is a material made of many particles. Small changes in this volume of transparent material allows light and sound to move through space. The mirrors in our installation represent these particles acting in harmony to challenge and enhance what we see.

The installation is made of a grid of 100 mirrored panels that each rotate individually. An array of depth cameras above track people as they move around the installation. Using a weighted average of the various people being tracked the mirrors rotate to face the nearest person. Individually addressable LEDs along the sides of the mirrored panels respond to the ambient sound in the space around the installation.

[reportingfromthefield]

Volume from SOFTlab on Vimeo.

Volume was commissioned by HP for The Lab, an interactive experience combining many bespoke installations by various NYC based artists and curated by Meta, at the Panorama Music Festival in NYC.

Volume is an interactive cube of responsive mirrors that redirect light and sound to spatialize and reflect the excitement of surrounding festival goers. The paired down details of the installation are meant to foreground the use of light and sound as fundamental building elements of space. The installation redraws the line between what is considered ephemeral vs. physical as the installation remixes space and the character of the festival goers while gazing back at them with empathy and exuberance.

The installation was inspired by the ability of light and sound to form space through reflection and their dependence on atmosphere. Although we often consider this space empty, the air around us is a material made of many particles. Small changes in this volume of transparent material allows light and sound to move through space. The mirrors in our installation represent these particles acting in harmony to challenge and enhance what we see.

The installation is made of a grid of 100 mirrored panels that each rotate individually. An array of depth cameras above track people as they move around the installation. Using a weighted average of the various people being tracked the mirrors rotate to face the nearest person. Individually addressable LEDs along the sides of the mirrored panels respond to the ambient sound in the space around the installation.

[noise-rm]

Volume from SOFTlab on Vimeo.

Volume was commissioned by HP for The Lab, an interactive experience combining many bespoke installations by various NYC based artists and curated by Meta, at the Panorama Music Festival in NYC.

Volume is an interactive cube of responsive mirrors that redirect light and sound to spatialize and reflect the excitement of surrounding festival goers. The paired down details of the installation are meant to foreground the use of light and sound as fundamental building elements of space. The installation redraws the line between what is considered ephemeral vs. physical as the installation remixes space and the character of the festival goers while gazing back at them with empathy and exuberance.

The installation was inspired by the ability of light and sound to form space through reflection and their dependence on atmosphere. Although we often consider this space empty, the air around us is a material made of many particles. Small changes in this volume of transparent material allows light and sound to move through space. The mirrors in our installation represent these particles acting in harmony to challenge and enhance what we see.

The installation is made of a grid of 100 mirrored panels that each rotate individually. An array of depth cameras above track people as they move around the installation. Using a weighted average of the various people being tracked the mirrors rotate to face the nearest person. Individually addressable LEDs along the sides of the mirrored panels respond to the ambient sound in the space around the installation.

[herewegobebe]

TAEMIN | 'Blue' - Ephemeral Gaze' NYC 250313 [♡]

[cyocun]

Volume from SOFTlab on Vimeo.

Volume was commissioned by HP for The Lab, an interactive experience combining many bespoke installations by various NYC based artists and curated by Meta, at the Panorama Music Festival in NYC.

Volume is an interactive cube of responsive mirrors that redirect light and sound to spatialize and reflect the excitement of surrounding festival goers. The paired down details of the installation are meant to foreground the use of light and sound as fundamental building elements of space. The installation redraws the line between what is considered ephemeral vs. physical as the installation remixes space and the character of the festival goers while gazing back at them with empathy and exuberance.

The installation was inspired by the ability of light and sound to form space through reflection and their dependence on atmosphere. Although we often consider this space empty, the air around us is a material made of many particles. Small changes in this volume of transparent material allows light and sound to move through space. The mirrors in our installation represent these particles acting in harmony to challenge and enhance what we see.

The installation is made of a grid of 100 mirrored panels that each rotate individually. An array of depth cameras above track people as they move around the installation. Using a weighted average of the various people being tracked the mirrors rotate to face the nearest person. Individually addressable LEDs along the sides of the mirrored panels respond to the ambient sound in the space around the installation.

[taemcutie0718]

SOUNDCHECK - TAEMIN Ephemeral Gaze World Tour in NYC

[portjacksonpressgallery]

In Conversation: PESKY

PESKY’s latest exhibition NYC sees a shift in the artist’s street-based work, quite literally. Usually focused upon the streets of her Melbourne home, PESKY relocates her gaze towards the iconic streets of New York City. This expansive urban jungle is the site of inspiration for PESKY, whose ambitions for this exhibition were to provide a unique portrayal of the city – a place which is well documented and scrutinized by artists. In this aim, PESKY has been successful, a testament to the artist’s strong interpretive lens, NYC presents this vibrant metropolis as never seen before.

In this interview, PESKY sheds more light upon the inspiration and artistic vision that culminated in this remarkable body of work.

  Your work is known for its architectural focus and its vibrant, confident use of colour. What draws you to these things and how are they significant to your work?

I have always been drawn to the simplicity of line and am fascinated by the natural abstraction found in the interplay between buildings and their surrounds – the shapes created between structural elements varies depending on the angle in which streetscapes are views and photographed.

When I’m creating a new print, I start from original photographs and re-work them with a design eye. The aim is to remove them from their base in photography and to develop them into something new. Colour, line and balance all play an important role in this process. The amount the colours are altered varies depending on the nature of the original photograph. Each image is different and requires different amounts of reworking.

In my other artistic practice I work as a children’s illustrator. The majority of my client work involves designing to an existing brief. I work digitally and a lot of my time is spent in Photoshop and Illustrator, designing and re-designing, tweaking little bits here and there. I enjoy the freshness and I have in my PESKY work. Working from photographs is an entirely different process. However, I do think there is an artistic sensibility that crosses over between the two when it comes to balance and colour.

  Your work often gets associated with street art, with its literal focus of ‘the street’, but also because of its style, which is reminiscent of stencil art. What do you think of this comparison? Is it a comparison you with to evoke in your practice, or is it incidental?

I think the association may stem from the ephemeral nature of my work as wall as the actual technique. I don’t aim to depict street art in my images, however sometimes it does creep in! Likewise, I am not consciously trying to create images that look like stencil art, but I can see how it may be interpreted as such. I often focus on contrasting blocks of colour and strong simple variation between different areas within my images. I spent years as a graphic designer in the clothing industry and regularly designed prints to a limited colour palette for screen printing. So, there is a possibility that my previous career has affected my current artistic sensibility. I love that in my PESKY work, the colours are limitless.

  What does the realm of digital printmaking offer your work that more traditional printmaking —screen printing in particular—does or doesn’t?

The detail that I can create with digital pigment printing is much broader than if I were to create my images with screens. The subtleties and nuances are more clearly defined – so the digital process is better suited to my needs than traditional print making methods.

  You’ve hinted at your technical approach to printmaking already, can you elaborate? How do you create your prints?

Firstly I need the sun to be out before I shoot anything. This provides extra shadows and lines and shapes within the image. I then work on the images digitally, often altering the light, colour and reconfiguring the perspective of each image. I need the original photographs to be strong and clear with a large depth of field for the process to work effectively.

  We’re used to seeing the streets of Melbourne in your work, but this latest body of work sees your gaze shift further afield to New York. Is there something significant in this geographical turn?

Architecturally, New York is superb. Scale-wise it’s a dinosaur in comparison to little mouse Melbourne! I thought it would be a fabulous opportunity for PESKY to move away from Melbourne for a while and explore.

New York has been depicted by such a huge number of photographers over the years and I really wanted to create my own fresh take on it. Consequently, there are a huge number of photographs that didn’t make the final cut. I took a number from the top of the Empire State Building, many of which I thought would be brilliant for PESKY, however, in the end, whilst they were fabulous records of a spectacular view at sunset, I couldn’t shake the feeling that it had all been done before.

The photographs that went on to become artworks for the upcoming May show are instead focussing on the four main elements that summed up New York for me – smoke in Manhattan, giant art deco buildings, fire escape staircases and gritty urban streetscapes.

  How would you describe your work to somebody who hasn’t seen it?

Urban street-based, photo/illustrations with a design edge.

  NYC runs from 23rd May – 7th June, 2017

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In Conversation: PESKY