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I bring song recs (pick whatever ya fancy, or pick 'em all!) :3
Into My Body - Upsahl
Something Comforting - Porter Robinson
Time Escaping - Big Thief
Humans - Super Best Friends Club
Car Keys - Jaguar Sun
Bittersweet - Lianne La Havas
Not necessarily a consistent vibe here - tis a blunderbuss scattershot type of recommendations list :)
send me song recs!
Into My Body by UPSAHL
couldn’t listen all the way through | not my thing | it’s okay | kinda catchy | ok i really like this | downloading immediately | already in my library
i looove love upsahl but i hadn't heard this one before!! i absolutely adore it, 10/10, show stopper
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Something Comforting by Porter Robinson
couldn’t listen all the way through | not my thing | it’s okay | kinda catchy | ok i really like this | downloading immediately | already in my library
very different vibe but another artist that i love. just. everything by. porter robinson you can do nothing wrong (music-wise.) in my eyes. also. tosses this into my sparrow swallows-oak-garcia playlist. its a lil more normal-core to me but i don't have a playlist for him yet, so that works
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Time Escaping by Big Thief
couldn’t listen all the way through | not my thing | it’s okay | kinda catchy | ok i really like this | downloading immediately | already in my library
uhm. what. i both love and hate this actually. it could grow on me but i just feel lost listening to it rn. i will say though, if you like this song, go listen to Teetah The Cat Lady by Victoria Galinsky. its this absolutely bonkers song that i found through a shitty werewolf movie and its amazing
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Humans by Super Best Friends Club
couldn’t listen all the way through | not my thing | it’s okay | kinda catchy | ok i really like this | downloading immediately | already in my library
this rules. i might stop lik.e talking in response to these i am kind of sick of closely listening to musicand im starting to feel really overwhelmed. i thought i would get two asks with like one to three songs, why did you guys send several songs. (NOT UR FAULT BTW you and everyone said i dont have to do them all. i just feel the need to do them all. self-inflicted overwhelm) this is a really good song tho i like it
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Car Keys by Jaguar Sun
couldn’t listen all the way through | not my thing | it’s okay | kinda catchy | ok i really like this | downloading immediately | already in my library
this is pretty good! not my usual thing but im vibing with it, could see myself tossing it on a ship playlist and getting really intensely obsessed with it via that
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Bittersweet by Lianne La Havas
couldn’t listen all the way through | not my thing | it’s okay | kinda catchy | ok i really like this | downloading immediately | already in my library
very pretty song!! its a little too slow for me, but she has a really really nice voice. i especially love when it gets a lil more intense and she sings louder, i think its at the bridge? so so good
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best tv, movies, & music of 2020
If I leaned into one hobby during this trashfire of a year, it was consuming media. Me and my poor little astigmatized eyes observed a rigorous nightly schedule of Netflix and chill, Hulu and disassociate, Starz and eternal scream, etc., etc.
I never ever do this but maybe I'll start doing it yearly. Here are my favorite things I watched and listened to in 2020, in no particular order. (And if something you loved isn’t here, that’s okay! Different tastes, but also, there are a lot of new things I skipped, especially shows with dark themes or lots of violence.)
Television
Betty, season 1 (HBO)
Water with cucumber and lime. Stepping across an autumn leaf-littered sidewalk in thick-soled boots. Lying on a floatie in a pool mid-summer. In the same vein, Betty refreshes. Based on Crystal Moselle’s Skate Kitchen, Betty serializes the adventures of a group of energetic and beautiful gen Z girls trying to take a bite out of New York City’s men-dominated skateboard scene. The series is sweet and naturalistic, and deftly handles issues of family strife, workplace racism, and sexual assault. It was an oasis in a year of overwhelm.
Vida, season 3 (Starz)
I’ve loved Vida from season 1 but it took the panny for me to sit down and get caught up. Vida follows two estranged sisters who move back to East LA to run their mother’s bar after her sudden death. I often disagree with the show’s politics (e.g., its ethos is more pro-gentrification than not, the utter lack of Afro-Latinx cast members); nevertheless, Vida handles issues of legacy, intimacy, and queer identity with tenderness. Mishel Prada is mesmerizing in her portrayal of Emma, who finally lets love in. This is by far the most underrated show of the decade.
P-Valley, season 1 (Starz)
One of the rules of Mississippi strip club The Pynk? No motherfucking chips! This specificity and humor is all up and through P-Valley. Creator Katori Hall’s world is so well-built that you can almost feel the club’s dim interior and lithe dancers. Mercedes, a tough veteran dancer trying hard to leave The Pynk, and the club’s proprietor, non-binary femme sensation Uncle Clifford, are engaging, charismatic leads. Unapologetically Black and southern, P-Valley is critically acclaimed for good reason and I can’t wait for season 2.
Almost made the list: The Flight Attendant (HBO Max), How to with John Wilson (HBO)
Movies
Palm Springs (Hulu)
I’ve always had a little crush on Andy Samberg because he’s extremely good at his job--being funny. Yes, he’s funny in this film, and he also perfectly reflects the weariness and nihilism of millennials today. Cristin Milioti is an excellent co-lead who uses her large eyes to express at turns annoyance, excitement, and pain. A film about reliving the same day, every day, was kind of cruel to watch during the heart of my quarantine, but Palm Springs was a sumptuous, romantic companion.
Disclosure (Netflix)
I really don’t like when media about marginalized groups is billed as “much needed” or “powerful”. It’s patronizing and flattens the creator’s artistic vision. So, I won’t use that language but I will acknowledge how much I learned from Disclosure and how affecting it was. It offers a deep dive into representations of trans folks in mainstream media and is extremely well-edited and cohesive. Importantly, it was produced by trans people and directed by trans filmmaker Sam Feder. Watch it.
The Old Guard (Netflix)
There was a joke floating around on Twitter about how a lot of women never thought we liked action movies until we saw The Old Guard, then we realized, oh, we just need to see women in instrumental roles! Beyond Charlize Theron’s layered performance as an immortal baddie, the story is inventive and engrossing. The Old Guard is super rewatchable and a lot of fun.
Almost made the list: I’m Thinking of Ending Things (Netflix), On the Record (HBO Max), Tender, Onward
Music
Favorite albums
Jaguar
Victoria Monét is a star. Maybe it’s because I’m in my thirties but I had never heard of her before my friend urged me to listen to Jaguar (shoutout to Kayla, thank you, Kayla!). I like my R&B warm and well-written and cozy. Victoria’s voice is smooth and polished and evokes the sensuality of jazz singers from the 30s. When she croons “had a feeling we would take it this far / when you kissed me in your car”, it’s easy to tell why Kehlani fell for her. This is, as they say, an album with no skips.
Suga & Good News
Megan Thee Stallion’s year was marred by a horrible event--she was shot. And then, social media trolls did their best to blame her for the shooting because the curse of being a Black woman is that we are never allowed to be victims. Even still, she bookmarked either side of that event with an EP, Suga, and her first full-length album Good News. They are strong projects (although I prefer Suga) because our girl is as clever and versatile as ever, constantly one-upping herself and her featured artists with rhyme after rhyme. Hotties rejoice, the champ is here to stay.
Ungodly Hour
Chloe x Halle have cemented their status as Those Girls. Ungodly Hour is a near-perfect album and showcases their startlingly beautiful harmonies and earwormy, haunting lyrics. This album was a key piece of fuel as I hammered away at my dissertation prospectus this summer. I would wiggle my shoulders in time with “Do It”, belt out “Tipsy”, and ignore the catch in my throat when “Lonely” was on. Importantly, Chloe and Halle are settling into adulthood and the darker themes on this project reflect that. Believers and skeptics alike, Ungodly Hour is for you.
Almost made the list: Carly Rae Jepsen - Dedicated Side B, Emily King - Sides, Jessie Ware - What’s Your Pleasure?
Favorite tracks
Cardi B ft. Megan Thee Stallion - “WAP”
“Gobble me, swallow me, drip down the side of me”-- Do I need to go on???
Aminé - “Compensating”
Aminé is attractive and competent and so is this single. It’s the perfect summer track.
Giveon - “Heartbreak Anniversary”
His voice haunts me. When I first heard Giveon, I looked up as if to ask who is that? He’s model-beautiful and his deep baritone lingers in the room after the song ends.
Jessie Ware - “Ooh La La”
I have loved Jessie Ware since her first album Devotion, which was firmly R&B. This single and accompanying album are disco/funk territory. “Ooh La La” is uplifting and well-suited to Jessie’s warm soprano.
#best tv 2020#best movies 2020#best music 2020#2020#betty hbo#p-valley#vida#palm springs#the old guard#disclosure#suga#good news#jaguar#ungodly hour#wap#compensating#giveon#amine#jessie ware#ooh la la#megan thee stallion#victoria monet
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The Death Of The Car Jaguar | the car jaguar
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Thursday 20 September 2018
The Duchess of Sussex hosted a reception at Kensington Palace to celebrate the launch of the charity cookbook Together. The Duke of Sussex and Ms. Ragland accompanied her.
The Earl of Wessex Chairman of the Board of Trustees, The Duke of Edinburgh's International Award Foundation, visited The Racquet and Tennis Club, 370 Park Avenue, New York, as part of His Royal Highness's The Duke of Edinburgh's Award Real Tennis Tour. Visited The Tuxedo Club, visited Jaguar Land Rover North America, attended a World Fellowship Reception in New York.
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The Countess of Wessex launched Victoria of Wight Ferry, Wightlink Isle of Wight Ferries at Fishbourne Car Ferry Terminal, visited Aspire Ryde, Trinity Buildings, visited Liz Earle Beauty Company, Isle of Wight.
The Princess Royal Patron, the Naval Ladies' Club, attended an 80th Anniversary Reception, The Mary Rose Museum. Fourth Warden, the Fishmongers' Company, attended the Committee of Wardens Meeting and a Luncheon, Fishmongers' Hall, London Bridge, London EC4.
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A pocos días del lanzamiento de Forza Horizon 4, Microsoft ha dado a conocer la lista de autos que estarán disponibles para la salida del juego, siendo más de 400 vehículos con sus reglajes oficial.
A continuación te dejamos la lista completa:
1926 Bugatti Type 35 C
1931 Bentley 4-1/2 Litre Supercharged
1931 Bentley 8-Litre
1932 Ford De Luxe Five-Window Coupe
1934 Alfa Romeo P3
1939 Auto Union Type D
1939 Maserati 8CTF
1939 Mercedes-Benz W154
1940 Ford De Luxe Coupe
1945 Willys MB Jeep
1946 Ford Super Deluxe Station Wagon
1948 Ferrari 166MM Barchetta
1949 Mercury Coupe
1953 Chevrolet Corvette
1953 Ferrari 500 Mondial
1953 Maserati A6GCS/53 Pininfarina Berlinetta
1954 Jaguar XK120 SE
1954 Mercedes-Benz 300 SL Coupé
1955 Chevrolet 150 Utility Sedan
1955 Hoonigan Chevrolet Bel Air
1955 Mercedes-Benz 300 SLR
1955 Porsche 550A Spyder
1956 Ford F-100
1956 Jaguar D-Type
1956 Lotus Eleven
1957 BMW Isetta 300 Export
1957 Chevrolet Bel Air
1957 Ferrari 250 California
1957 Ferrari 250 Testa Rossa
1957 Maserati 300 S
1957 Porsche 356A Speedster
1958 Aston Martin DBR1
1958 Austin-Healey Sprite MkI
1958 MG MGA Twin-Cam
1958 Morris Minor 1000
1959 Ford Anglia 105E
1959 Jaguar Mk II 3.8
1960 Aston Martin DB4GT Zagato
1960 Chevrolet Corvette
1960 Porsche 718 RS 60
1961 Jaguar E-type S1
1961 Maserati Tipo 61 Birdcage
1962 Ferrari 250 GT Berlinetta Lusso
1962 Ferrari 250 GTO
1962 Peel P50
1962 Triumph Spitfire
1963 Ferrari 250LM
1963 Volkswagen Beetle
1963 Volkswagen Type 2 De Luxe
1964 Aston Martin DB5
1964 Austin FX4 Taxi
1964 Chevrolet Impala Super Sport 409
1964 Ford GT40 Mk I
1964 Jaguar Lightweight E-Type
1965 Alfa Romeo Giulia Sprint GTA Stradale
1965 Alfa Romeo Giulia TZ2
1965 Austin-Healey 3000 MKIII
1965 Ford Mustang GT Coupe
1965 Hoonigan Ford ‘Hoonicorn’ Mustang
1965 MINI Cooper S
1965 Shelby Cobra 427 S/C
1965 Shelby Cobra Daytona Coupe
1966 Chevrolet Nova Super Sport
1966 Ford #2 GT40 Mk II Le Mans
1966 Ford Lotus Cortina
1966 MG MGB GT
1967 Chevrolet Corvette Stingray 427
1967 Ferrari #24 Ferrari Spa 330 P4
1967 Lamborghini Miura P400
1967 Sunbeam Tiger
1968 Abarth 595 esseesse
1968 Alfa Romeo 33 Stradale
1968 Dodge Dart HEMI Super Stock
1968 Ferrari 365 GTB/4
1968 Lancia Fulvia Coupé Rallye 1.6 HF
1969 Chevrolet Camaro Super Sport Coupe
1969 Chevrolet Nova Super Sport 396
1969 Dodge Charger Daytona HEMI
1969 Dodge Charger R/T
1969 Ferrari Dino 246 GT
1969 Ford Mustang Boss 302
1969 Lola #6 Penske Sunoco T70 MkIIIB
1969 Nissan Fairlady Z 432
1969 Oldsmobile Hurst/Olds 442
1969 Pontiac GTO Judge
1969 Volkswagen Class 5/1600 Baja Bug
1970 Chevrolet Camaro Z28
1970 Chevrolet Chevelle Super Sport 454
1970 Chevrolet Corvette ZR-1
1970 Chevrolet El Camino Super Sport 454
1970 Datsun 510
1970 Dodge Challenger R/T
1970 International Scout 800A
1970 Volkswagen #1107 Desert Dingo Racing Stock Bug
1971 AMC Javelin AMX
1971 Ford Mustang Mach 1
1971 Lotus Elan Sprint
1971 Meyers Manx
1971 Nissan Skyline 2000GT-R
1971 Plymouth Cuda 426 HEMI
1971 Porsche #23 917/20
1972 Chrysler VH Valiant Charger R/T E49
1972 Ford Falcon XA GT-HO
1972 Hoonigan Chevrolet Napalm Nova
1972 Land Rover Series III
1972 Reliant Supervan III
1973 AMC Gremlin X
1973 BMW 2002 Turbo
1973 Ford Capri RS3100
1973 Ford Escort RS1600
1973 Ford XB Falcon GT
1973 Holden HQ Monaro GTS 350
1973 Land Rover Range Rover
1973 Nissan Skyline H/T 2000GT-R
1973 Pontiac Firebird Trans Am SD-455
1973 Porsche 911 Carrera RS
1973 Renault Alpine A110 1600s
1974 Holden Sandman HQ panel van
1974 Lancia Stratos HF Stradale
1975 Ford Bronco
1976 Jeep CJ5 Renegade
1977 Ford Escort RS1800
1977 Holden Torana A9X
1977 Pontiac Firebird Trans Am
1978 Hoonigan Ford Escort RS1800
1979 Chevrolet Camaro Z28
1979 Talbot Sunbeam Lotus
1980 Abarth Fiat 131
1980 FIAT 124 Sport Spider
1980 Renault 5 Turbo
1981 BMW M1
1981 Ford Fiesta XR2
1981 Volkswagen Scirocco S
1982 Lancia 037 Stradale
1982 Porsche 911 Turbo 3.3
1983 Audi Sport quattro
1983 GMC Vandura G-1500
1983 Volkswagen Golf GTI
1983 Volvo 242 Turbo Evolution
1984 Ferrari 288 GTO
1984 Opel Manta 400
1984 Peugeot 205 Turbo 16
1985 Ford RS200 Evolution
1985 HDT VK Commodore Group A
1986 Audi #2 Audi Sport quattro S1
1986 Ford Escort RS Turbo
1986 Lamborghini LM 002
1986 Lancia Delta S4
1986 MG Metro 6R4
1987 Buick Regal GNX
1987 Ferrari F40
1987 Ford Sierra Cosworth RS500
1987 Nissan Skyline GTS-R (R31)
1987 Pontiac Firebird Trans Am GTA
1987 Porsche 959
1988 BMW M5
1988 Chevrolet Monte Carlo Super Sport
1988 Lamborghini Countach LP5000 QV
1989 Ferrari F40 Competizione
1989 Porsche 944 Turbo
1990 Jaguar XJ-S
1990 Mazda Savanna RX-7
1990 Mercedes-Benz 190E 2.5-16 Evolution II
1990 SUBARU Legacy RS
1990 Vauxhall Lotus Carlton
1991 BMW M3
1991 Honda CR-X SiR
1991 Hoonigan Rauh-Welt Begriff Porsche 911 Turbo
1992 Bugatti EB110 Super Sport
1992 Ferrari 512 TR
1992 Ford Escort RS Cosworth
1992 Honda NSX-R
1992 Hoonigan Mazda RX-7 Twerkstallion
1992 Lancia Delta HF Integrale EVO
1992 Nissan Silvia CLUB K’s
1992 Volkswagen Golf Gti 16v Mk2
1993 Ford SVT Cobra R
1993 Jaguar XJ220
1993 McLaren F1
1993 Nissan 240SX SE
1993 Nissan Skyline GT-R V-Spec
1993 Renault Clio Williams
1993 Toyota #1 T100 Baja Truck
1994 Ferrari F355 Berlinetta
1994 Mazda MX-5 Miata
1994 Nissan Silvia K’s
1995 Audi RS 2 Avant
1995 BMW M5
1995 Chevrolet Corvette ZR-1
1995 Ferrari F50
1995 Nissan NISMO GT-R LM
1995 Porsche 911 GT2
1995 Volkswagen Corrado VR6
1996 Ferrari F50 GT
1997 BMW M3
1997 Honda Civic Type R
1997 Lamborghini Diablo SV
1997 Land Rover Defender 90
1997 Lotus Elise GT1
1997 Mazda RX-7
1997 McLaren F1 GT
1997 Nissan Skyline GT-R V-Spec
1997 Volvo 850 R
1998 Mercedes-Benz AMG CLK GTR
1998 Nissan R390
1998 Nissan Silvia K’s Aero
1998 Porsche 911 GT1 Strassenversion
1998 SUBARU Impreza 22B STi
1998 TVR Cerbera Speed 12
1998 Volkswagen GTI VR6 Mk3
1999 Dodge Viper GTS ACR
2000 Ford SVT Cobra R
2000 Lotus 340R
2000 Nissan Silvia Spec-R
2001 Acura Integra Type-R
2001 Audi RS 4 Avant
2002 Acura RSX Type-S
2002 BMW Z3 M Coupe
2002 Chevrolet Corvette Z06
2002 Ferrari 575M Maranello
2002 Ferrari Enzo Ferrari
2002 Lotus Esprit V8
2002 Nissan Skyline GT-R V-Spec II
2003 Audi RS 6
2003 BMW M5
2003 Ferrari 360 Challenge Stradale
2003 Ford Focus RS
2003 Nissan Fairlady Z
2003 Porsche Carrera GT
2003 Volkswagen Golf R32
2004 Honda Civic Type-R
2004 Maserati MC12
2004 Porsche 911 GT3
2004 SUBARU Impreza WRX STi
2004 Saleen S7
2005 BMW M3
2005 Ford GT
2005 Honda NSX-R
2005 Lotus Elise 111S
2005 Mazda Mazdaspeed MX-5
2005 SUBARU Impreza WRX STi
2005 TVR Sagaris
2005 Vauxhall Monaro VXR
2006 Audi RS 4
2006 HUMMER H1 Alpha
2007 Alfa Romeo 8C Competizione
2007 Ferrari 430 Scuderia
2007 Honda Civic Type-R
2007 Toyota Hilux Arctic Trucks AT38
2008 BMW M3
2008 BMW Z4 M Coupe
2008 Dodge Viper SRT10 ACR
2008 Lamborghini Reventón
2008 SUBARU Impreza WRX STI
2008 Volkswagen Touareg R50
2009 Audi RS 6
2009 BMW M5
2009 Chevrolet Corvette ZR1
2009 Ferrari 458 Italia
2009 Ford Focus RS
2009 Honda S2000 CR
2009 Lotus 2-Eleven
2009 MINI John Cooper Works
2009 Mercedes-Benz SL 65 AMG Black Series
2009 Pagani Zonda Cinque Roadster
2010 Aston Martin One-77
2010 Audi TT RS Coupé
2010 Ferrari 599 GTO
2010 Ferrari 599XX
2010 Ford Crown Victoria Police Interceptor
2010 Lamborghini Murciélago LP 670-4 SV
2010 Maserati Gran Turismo S
2010 Morgan Aero SuperSports
2010 Nissan 370Z
2010 Noble M600
2010 Pagani Zonda R
2010 Renault Clio R.S.
2010 Renault Megane R.S. 250
2010 Volkswagen Golf R
2011 Audi RS 3 Sportback
2011 Audi RS 5 Coupé
2011 BMW 1 Series M Coupe
2011 BMW X5 M
2011 BMW Z4 sDrive35is
2011 Bugatti Veyron Super Sport
2011 Ferrari FF
2011 Ford F-150 SVT Raptor
2011 Ford Transit SuperSportVan
2011 Koenigsegg Agera
2011 Lamborghini Gallardo LP 570-4 Superleggera
2011 Lamborghini Sesto Elemento
2011 Lotus Evora S
2011 Mazda RX-8 R3
2011 Mercedes-Benz SLS AMG
2011 Penhall The Cholla
2011 SUBARU WRX STI
2011 Volkswagen Scirocco R
2012 Ascari KZ1R
2012 Aston Martin Vanquish
2012 BMW M5
2012 Bowler EXR S
2012 Eagle Speedster
2012 Ferrari F12berlinetta
2012 Hennessey Venom GT
2012 Jaguar XKR-S
2012 Jeep Wrangler Rubicon
2012 Lamborghini Aventador LP700-4
2012 Lotus Exige S
2012 MINI John Cooper Works GP
2012 Mercedes-Benz C 63 AMG Coupé Black Series
2012 Mercedes-Benz SLK 55 AMG
2012 Nissan GT-R Black Edition
2012 Pagani Huayra
2012 Porsche 911 GT2 RS
2012 Porsche 911 GT3 RS 4.0
2012 Porsche Cayenne Turbo
2012 Vauxhall Astra VXR
2013 Ariel Atom 500 V8
2013 Aston Martin V12 Vantage S
2013 Audi R8 Coupé V10 plus 5.2 FSI quattro
2013 Audi RS 4 Avant
2013 Audi RS 7 Sportback
2013 BMW M6 Coupe
2013 Bentley Continental GT Speed
2013 Cadillac XTS Limousine
2013 Caterham Superlight R500
2013 Donkervoort D8 GTO
2013 Ferrari 458 Speciale
2013 Ferrari LaFerrari
2013 Ford Shelby GT500
2013 KTM X-Bow R
2013 Lamborghini Veneno
2013 MINI X-Raid All4 Racing Countryman
2013 Mazda MX-5
2013 McLaren P1
2013 Mercedes-Benz A 45 AMG
2013 Mercedes-Benz E 63 AMG
2013 Mercedes-Benz G 65 AMG
2013 Renault Clio R.S. 200 EDC
2013 SRT Viper GTS
2013 SUBARU BRZ
2014 Alfa Romeo 4C
2014 BAC Mono
2014 BMW M4 Coupe
2014 Ferrari California T
2014 Ferrari FXX K
2014 Ford #11 Rockstar F-150 Trophy Truck
2014 Ford FPV Limited Edition Pursuit Ute
2014 Ford Fiesta ST
2014 Ford Ranger T6 Rally Raid
2014 HSV GEN-F GTS
2014 HSV Limited Edition Gen-F GTS Maloo
2014 Infiniti Q50 Eau Rouge
2014 Jeep Grand Cherokee SRT
2014 Lamborghini Huracán LP 610-4
2014 Lamborghini Urus Concept
2014 Local Motors Rally Fighter
2014 Mercedes-Benz Unimog U5023
2014 Morgan 3 Wheeler
2014 Porsche 911 Turbo S
2014 Porsche 918 Spyder
2014 Terradyne Gurkha LAPV
2014 Volkswagen Global RallyCross Beetle
2014 Volkswagen Golf R
2015 Alumi Craft Class 10 Race Car
2015 Audi RS 6 Avant
2015 Audi S1
2015 Audi TTS Coupé
2015 BMW X6 M
2015 BMW i8
2015 Chevrolet Camaro Z/28
2015 Chevrolet Corvette Z06
2015 Dodge Challenger SRT Hellcat
2015 Dodge Charger SRT Hellcat
2015 Ferrari 488 GTB
2015 Ferrari F12tdf
2015 Ford Falcon GT F 351
2015 Honda Ridgeline Baja Trophy Truck
2015 Infiniti Q60 Concept
2015 Jaguar F-TYPE R Coupé
2015 Jaguar XE-S
2015 Jaguar XFR-S
2015 Jaguar XKR-S GT
2015 Koenigsegg One:1
2015 Land Rover Range Rover Sport SVR
2015 McLaren 570S Coupé
2015 McLaren 650S Coupe
2015 Mercedes-AMG GT S
2015 Mercedes-Benz #24 Tankpool24 Racing Truck
2015 Polaris RZR XP 1000 EPS
2015 Porsche Cayman GTS
2015 Porsche Macan Turbo
2015 Radical RXC Turbo
2015 SUBARU WRX STI
2015 Ultima Evolution Coupe 1020
2015 Volvo V60 Polestar
2016 Abarth 695 Biposto
2016 Ariel Nomad
2016 Aston Martin Vantage GT12
2016 Aston Martin Vulcan
2016 Audi R8 V10 plus
2016 BMW M2 Coupé
2016 BMW M4 GTS
2016 Bentley Bentayga
2016 Cadillac ATS-V
2016 Cadillac CTS-V Sedan
2016 Dodge Viper ACR
2016 Ford Shelby GT350R
2016 Honda Civic Type R
2016 Hoonigan GYMKHANA 9 Ford Focus RS RX
2016 Jaguar F-TYPE Project 7
2016 Jeep Trailcat
2016 Koenigsegg Regera
2016 Lamborghini Aventador LP750-4 SV
2016 Lamborghini Centenario LP 770-4
2016 Lotus 3-Eleven
2016 Mazda MX-5
2016 Mercedes-AMG C 63 S Coupé
2016 Nissan TITAN Warrior Concept
2016 Pagani Huayra BC
2016 Porsche 911 GT3 RS
2016 Porsche Cayman GT4
2016 RJ Anderson #37 Polaris RZR-Rockstar Energy Pro 2 Truck
2016 SUBARU #199 WRX STI VT15r Rally Car
2016 Spania GTA GTA Spano
2016 Toyota Land Cruiser Arctic Trucks AT37
2016 Vauxhall Corsa VXR
2016 Volvo Iron Knight
2016 W Motors Lykan HyperSport
2016 Zenvo ST1
2017 Abarth 124 Spider
2017 Acura NSX
2017 Alfa Romeo Giulia Quadrifoglio
2017 Aston Martin DB11
2017 Bentley Continental Supersports
2017 Chevrolet Camaro ZL1
2017 Ford #14 Rahal Letterman Lanigan Racing GRC Fiesta
2017 Ford F-150 Raptor
2017 Ford Focus RS
2017 Ford GT
2017 Ford M-Sport Fiesta RS
2017 Jaguar F-PACE S
2017 Mercedes-AMG GT R
2017 Nissan GT-R
2017 Porsche Panamera Turbo
2017 Ram 2500 Power Wagon
2017 Tamo Racemo
2017 Volkswagen #34 Volkswagen Andretti Rallycross Beetle
2018 Bugatti Chiron
2018 Dodge Challenger SRT Demon
2018 Dodge Durango SRT
2018 Ford Mustang GT
2018 Jeep Grand Cherokee Trackhawk
2018 Kia Stinger
2018 McLaren 720s Coupé
2018 McLaren Senna
2018 Porsche 911 GT2 RS
2018 Porsche Cayenne Turbo
2019 Hyundai Veloster N
2554 AMG Transport Dynamics M12S Warthog CST
Forza Horizon 4 estará disponible desde el 28 de septiembre para Xbox One y PC por medio del programa Play Anywhere.
Encontrarás más noticias en http://bit.ly/1k2bLyG
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Flight of the Concours
I can’t speak for all auto scribes, but it seems to me once you’ve been writing long enough, interest in your automotive literary out-put, adventures, and car news tends to wane among family and friends.
“I’ve just returned from driving D-type Jaguars overland to the Bosphorus with Jackie Stewart, Henry Kissinger, and Linda Vaughn co-driving,” you might apprise a loved one. Only for them to weigh the information thoughtfully and ask, “Have you seen my phone charger?”
It’s one of the reasons that concours make such fine forums for automotive journalists. Like Capitol Hill reporters rubbing shoulders with congressional staffers, car writers find themselves in the presence of many who not only care about cars but who might have actually once read something they’d penned, unlike in, say, the real world.
That’s one reason I accepted the generous invitation of South Carolina’s Hilton Head Island Motoring Festival and Concours d’Elegance to attend its 16th annual event. Ogling the fine field of American and foreign classics (with Cadillac as the honored marque) was another. It made my first trip to the island worthwhile on a car-spotting basis alone. An impressive 1934 Cadillac Victoria Convertible Coupe took Best of Show, but a 1939 Cadillac Series 61 Opera Coupe, finished in two-tone green, won my heart.
A day earlier on a field filled with some of the best the local club scene had to offer, I’d also been startled to find myself standing in front of my beautiful green 1971 Mercedes-Benz 300 SEL 6.3, last seen by me when I sold it in 2009. It’s in even better condition than when I de-acquisitioned it thinking it was too pristine for the likes of me to drive. Memories of the old Benz’s titanic thrust came rushing back, followed shortly by shiver-inducing visions of 12 mpg and bi-annual hose and belt replacement bills running into the four figures.
Hilton Head wasn’t always a resort destination, but it’s always been rich in history. Native Americans came first, before Huguenots, Spaniards, and Britons arrived. Its Port Royal became a major Atlantic port in the Sea Island cotton trade and the slave economy of the South. In 1861, it fell to the Union army. As the area’s plantation owners fled, many of their slaves stayed behind. Union Gen. Ormsby Mitchel helped them establish a self-governing community there, named Mitchelville after him. But following the defeat of the Confederacy, much of the land was returned to those same former plantation owners.
It was a lot to think about as the concours weekend began with a classic-car driving tour Friday. Behind the wheel of a 1971 1800E—supplied by South Carolina’s newest automotive citizen, Volvo—the tour visited the site of Mitchelville, gone now but celebrated in an interactive presentation of word, song, and the Gullah culture. A mixture of English and African dialects, Gullah, still spoken by an elite few, is the language of former slaves who lived in the band of low country running along the rice-growing coast from South Carolina to Georgia.
Later, I’d catch a ride in the jump seat of a 1929 Ford Model A roadster belonging to Michael Hamby Jr. and his new bride, Sharon, who won the concours’ best dressed award, a nice cap on a honeymoon spent attending the event. The 30-something Hamby showed his car alongside an A coupe belonging to his father. The two Fords had been kept as a pair in the same garage for decades before going their separate ways. The Hambys later reunited them. Hamby is the sort of collector the hobby needs in much greater numbers if it is to thrive. As it stands, it’s mostly a bunch of old, wealthy folk. When they’re gone, the cars have to go somewhere.
Speaking of going somewhere, the highlight of this landlubber’s old car idyll came when I caught a lift from New York to Hilton Head in a Cirrus Vision Jet. A new breed of single-engine craft, it’s an SUV for the sky. Its price tag of $2.5 million is a bargain compared to the $24.5 million Gulfstream G280 shown Friday night at the concours’ Flights & Fancy Aeroport Gala charity fundraiser. Any self-respecting concours seems to have an aviation partner nowadays.
It was easily the most exhilarating flight of my life. As an extra measure of safety, a built-in parachute is standard equipment. An incredible feature, I began to explain, just as one young relation wondered aloud, “Where did you say you put that charger?”
The post Flight of the Concours appeared first on Automobile Magazine.
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Flight of the Concours
I can’t speak for all auto scribes, but it seems to me once you’ve been writing long enough, interest in your automotive literary out-put, adventures, and car news tends to wane among family and friends.
“I’ve just returned from driving D-type Jaguars overland to the Bosphorus with Jackie Stewart, Henry Kissinger, and Linda Vaughn co-driving,” you might apprise a loved one. Only for them to weigh the information thoughtfully and ask, “Have you seen my phone charger?”
It’s one of the reasons that concours make such fine forums for automotive journalists. Like Capitol Hill reporters rubbing shoulders with congressional staffers, car writers find themselves in the presence of many who not only care about cars but who might have actually once read something they’d penned, unlike in, say, the real world.
That’s one reason I accepted the generous invitation of South Carolina’s Hilton Head Island Motoring Festival and Concours d’Elegance to attend its 16th annual event. Ogling the fine field of American and foreign classics (with Cadillac as the honored marque) was another. It made my first trip to the island worthwhile on a car-spotting basis alone. An impressive 1934 Cadillac Victoria Convertible Coupe took Best of Show, but a 1939 Cadillac Series 61 Opera Coupe, finished in two-tone green, won my heart.
A day earlier on a field filled with some of the best the local club scene had to offer, I’d also been startled to find myself standing in front of my beautiful green 1971 Mercedes-Benz 300 SEL 6.3, last seen by me when I sold it in 2009. It’s in even better condition than when I de-acquisitioned it thinking it was too pristine for the likes of me to drive. Memories of the old Benz’s titanic thrust came rushing back, followed shortly by shiver-inducing visions of 12 mpg and bi-annual hose and belt replacement bills running into the four figures.
Hilton Head wasn’t always a resort destination, but it’s always been rich in history. Native Americans came first, before Huguenots, Spaniards, and Britons arrived. Its Port Royal became a major Atlantic port in the Sea Island cotton trade and the slave economy of the South. In 1861, it fell to the Union army. As the area’s plantation owners fled, many of their slaves stayed behind. Union Gen. Ormsby Mitchel helped them establish a self-governing community there, named Mitchelville after him. But following the defeat of the Confederacy, much of the land was returned to those same former plantation owners.
It was a lot to think about as the concours weekend began with a classic-car driving tour Friday. Behind the wheel of a 1971 1800E—supplied by South Carolina’s newest automotive citizen, Volvo—the tour visited the site of Mitchelville, gone now but celebrated in an interactive presentation of word, song, and the Gullah culture. A mixture of English and African dialects, Gullah, still spoken by an elite few, is the language of former slaves who lived in the band of low country running along the rice-growing coast from South Carolina to Georgia.
Later, I’d catch a ride in the jump seat of a 1929 Ford Model A roadster belonging to Michael Hamby Jr. and his new bride, Sharon, who won the concours’ best dressed award, a nice cap on a honeymoon spent attending the event. The 30-something Hamby showed his car alongside an A coupe belonging to his father. The two Fords had been kept as a pair in the same garage for decades before going their separate ways. The Hambys later reunited them. Hamby is the sort of collector the hobby needs in much greater numbers if it is to thrive. As it stands, it’s mostly a bunch of old, wealthy folk. When they’re gone, the cars have to go somewhere.
Speaking of going somewhere, the highlight of this landlubber’s old car idyll came when I caught a lift from New York to Hilton Head in a Cirrus Vision Jet. A new breed of single-engine craft, it’s an SUV for the sky. Its price tag of $2.5 million is a bargain compared to the $24.5 million Gulfstream G280 shown Friday night at the concours’ Flights & Fancy Aeroport Gala charity fundraiser. Any self-respecting concours seems to have an aviation partner nowadays.
It was easily the most exhilarating flight of my life. As an extra measure of safety, a built-in parachute is standard equipment. An incredible feature, I began to explain, just as one young relation wondered aloud, “Where did you say you put that charger?”
The post Flight of the Concours appeared first on Automobile Magazine.
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Flight of the Concours
I can’t speak for all auto scribes, but it seems to me once you’ve been writing long enough, interest in your automotive literary out-put, adventures, and car news tends to wane among family and friends.
“I’ve just returned from driving D-type Jaguars overland to the Bosphorus with Jackie Stewart, Henry Kissinger, and Linda Vaughn co-driving,” you might apprise a loved one. Only for them to weigh the information thoughtfully and ask, “Have you seen my phone charger?”
It’s one of the reasons that concours make such fine forums for automotive journalists. Like Capitol Hill reporters rubbing shoulders with congressional staffers, car writers find themselves in the presence of many who not only care about cars but who might have actually once read something they’d penned, unlike in, say, the real world.
That’s one reason I accepted the generous invitation of South Carolina’s Hilton Head Island Motoring Festival and Concours d’Elegance to attend its 16th annual event. Ogling the fine field of American and foreign classics (with Cadillac as the honored marque) was another. It made my first trip to the island worthwhile on a car-spotting basis alone. An impressive 1934 Cadillac Victoria Convertible Coupe took Best of Show, but a 1939 Cadillac Series 61 Opera Coupe, finished in two-tone green, won my heart.
A day earlier on a field filled with some of the best the local club scene had to offer, I’d also been startled to find myself standing in front of my beautiful green 1971 Mercedes-Benz 300 SEL 6.3, last seen by me when I sold it in 2009. It’s in even better condition than when I de-acquisitioned it thinking it was too pristine for the likes of me to drive. Memories of the old Benz’s titanic thrust came rushing back, followed shortly by shiver-inducing visions of 12 mpg and bi-annual hose and belt replacement bills running into the four figures.
Hilton Head wasn’t always a resort destination, but it’s always been rich in history. Native Americans came first, before Huguenots, Spaniards, and Britons arrived. Its Port Royal became a major Atlantic port in the Sea Island cotton trade and the slave economy of the South. In 1861, it fell to the Union army. As the area’s plantation owners fled, many of their slaves stayed behind. Union Gen. Ormsby Mitchel helped them establish a self-governing community there, named Mitchelville after him. But following the defeat of the Confederacy, much of the land was returned to those same former plantation owners.
It was a lot to think about as the concours weekend began with a classic-car driving tour Friday. Behind the wheel of a 1971 1800E—supplied by South Carolina’s newest automotive citizen, Volvo—the tour visited the site of Mitchelville, gone now but celebrated in an interactive presentation of word, song, and the Gullah culture. A mixture of English and African dialects, Gullah, still spoken by an elite few, is the language of former slaves who lived in the band of low country running along the rice-growing coast from South Carolina to Georgia.
Later, I’d catch a ride in the jump seat of a 1929 Ford Model A roadster belonging to Michael Hamby Jr. and his new bride, Sharon, who won the concours’ best dressed award, a nice cap on a honeymoon spent attending the event. The 30-something Hamby showed his car alongside an A coupe belonging to his father. The two Fords had been kept as a pair in the same garage for decades before going their separate ways. The Hambys later reunited them. Hamby is the sort of collector the hobby needs in much greater numbers if it is to thrive. As it stands, it’s mostly a bunch of old, wealthy folk. When they’re gone, the cars have to go somewhere.
Speaking of going somewhere, the highlight of this landlubber’s old car idyll came when I caught a lift from New York to Hilton Head in a Cirrus Vision Jet. A new breed of single-engine craft, it’s an SUV for the sky. Its price tag of $2.5 million is a bargain compared to the $24.5 million Gulfstream G280 shown Friday night at the concours’ Flights & Fancy Aeroport Gala charity fundraiser. Any self-respecting concours seems to have an aviation partner nowadays.
It was easily the most exhilarating flight of my life. As an extra measure of safety, a built-in parachute is standard equipment. An incredible feature, I began to explain, just as one young relation wondered aloud, “Where did you say you put that charger?”
The post Flight of the Concours appeared first on Automobile Magazine.
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English Artist Benedict Radcliffe Wired with Passion
In the opening scene of “Who Framed Roger Rabbit,” Roger stars opposite a sweet, monosyllabic Baby Herman in the animated short, “Something’s Cooking.” Roger flubs his part, the scene is cut, and Herman becomes a garrulous curmudgeon, screaming blue murder at the rabbit before storming off the cartoon set and into the grimy studio lot, possibly in search of a Montecristo No. 2. That moment when Herman and his chubby, watercolor backside waddle into the real world was an absolute mind-bender for children like me at the time.
Today, looking at photographs of English artist Benedict Radcliffe’s automotive wireframe sculptures, the same fuse has blown. An ethereal, gleaming white Toyota Corolla being lifted and carried into a truck by six men, one of whom seems to be at once inside and outside the car. A black London taxi driving past a fluorescent orange outline of the same that seems superimposed but somehow casts a shadow. A hot-pink Range Rover Evoque that looks more hologram than solid matter, and a dayglo Lamborghini Countach that pierces the humdrum of an everyday street scene as an oblivious pigeon pads by. It’s abstract meets everyday, and it’s absolutely stunning.
Specializing in a kind of augmented reality, Benedict Radcliffe builds wireframe car sculptures that capture the essence of the originals.
Amazingly, all this visual chicanery springs from plain old steel rod and a bit of paint. To find out how, I visit Radcliffe’s London studio—an unremarkable, graffitied industrial unit on a quiet East End street, inside which the alchemy takes place. When Radcliffe first took over the space, he filled it with a bright pink skate park commissioned for a shoe launch. Now he lives in the loft, and the main space below is dominated by a huge “datum table” where his wireframe sculptures take shape. Hanging on one side, there’s a comically outsized bicycle frame, and the opposite wall is plastered with full-scale blueprints of a Ferrari F40. By the door sits a white wireframe Honda Gold Wing he displayed at the city’s prestigious Victoria and Albert Museum in 2012.
Chatting in the studio’s kitchen, Radcliffe explains where it all began. While studying at Glasgow’s Mackintosh School of Architecture, he was trained in fabrication and welding by Andy Scott, creator of many landmark installations including “The Kelpies,” a pair of 100-foot horse’s heads sculpted in metal that tower over one of Scotland’s main highways. A year after graduating in 2004, Radcliffe created “Modern Japanese Classic”—a white wireframe Subaru Impreza P1—as part of a personal exhibition. Too large to fit inside the venue, it was “parked” on the street outside, dazzling among the dank, weathered masonry of Glasgow’s city center. With that, his signature style was born.
Most pieces have been 1:1 scale, but he’s also produced smaller works of late, building a 1:6 Toyota Celica Mk7 on skateboard wheels for Mai Ikuzawa, daughter of Le Mans and Formula 2 racer and team owner Tetsu Ikuzawa. Yet he’s not afraid to go large, either: A life-sized JCB JS200 tracked excavator wireframe now sits at the plant manufacturer’s headquarters in England, and a 20-foot-long, six-wheeled Komatsu mining truck is now taking shape at a bigger facility elsewhere.
“It’s quite straightforward—cutting, welding, and grinding—but it’s the manipulation of the steel rod I’m drawing with that is really important.”
But the process remains fairly consistent, regardless of size. Radcliffe collates technical drawings and photographs from the internet, then traces out front, side, and rear elevations by hand to the required scale. It’s far from a simple case of copying what he sees, though. Even at this early stage, deft artistic wit is called for as he distills the vehicle’s form into key features that “capture the shape of the car with an economy of line,” as he neatly puts it. He uses just one gauge of steel rod for each sculpture—0.12 inch on small pieces and usually 0.39 inch on 1:1s—which means he recreates a highly complex, multisurfaced solid form using only what to all intents and purposes is a single, bendable cylinder of metal.
Radcliffe eschews computer-aided design and 3D-printed prototypes in favor of a manual process, literally building on his sketches.
“Everything I do is quite low-tech,” he says. “I’ll start with the blueprints, then extrude up from the plan. I might concentrate on the front bumper first, then the back bumper and the light clusters, building in components. It’s quite straightforward metalwork—cutting, welding, and grinding—but it’s the manipulation of the steel rod I’m drawing with that is really important.”
A homemade (and quite secret) apparatus helps Radcliffe bend the wire, and although a temporary grid is built to help keep the proportions correct, there’s improvisation to the building process, too: little changes here and there, cutting out and replacing lengths of rod, and experimenting with forms until he’s happy with the result. Pointing out the two mismatched loops that form each door mirror on Izukawa’s Celica, he elaborates: “These mirrors are quite abstract, but if I’d just had one loop, they would have looked two-dimensional. A second loop gives more form and depth.”
The Komatsu excavator sculpture weighs just a fraction of the real thing but still tips the scales at 3,300 pounds.
Radcliffe gets some help when it comes to the megasculptures—for example, fabrication of the 100 identical loops that make up the JCB’s tracks were outsourced after he created the master—but otherwise he does all the work himself, including the welding (TIG on the small sculptures, MIG on the rest). It’s often frustrating work—when heat from the welding gun distorts the metal, for instance—but once things start to take shape, it becomes a joy.
“The trick is to make them look simple, but they’re actually quite tricky. Not everyone has the patience,” he acknowledges, “but it’s actually really good fun. After about two months, once I’ve done all the hard work, I can experiment with how to do stuff. Someone might come from an engineer’s point of view and do it differently, but I can go a bit free-form and be more playful.”
The pink Celica and a white BMW E30 M3 Evolution (also 1:6 scale) took almost as long to build as the 10 to 16 weeks required to make a full-scale car, partly due to their intricacy. “You’ve got more steel to mess around with on the big ones, so you can make more mistakes,” Radcliffe says. “The small ones are really fiddly, and it’s difficult to get the welder in.”
The magic is all in the bending of the steel rod.
And the smaller the sculpture, the more the thickness of the paint has an effect on the visual gravity of the finished article. Radcliffe usually spray-paints, but the Celica and M3 were powder coated due to their diminutive size, which bulked them up and produced a tougher look versus the naked wireframe.
So, to retain more detail, Radcliffe kept the 0.12-inch rod but moved up to 1:5 scale for his subsequent project, a Lancia Delta Integrale Evoluzione. Unpainted, without wheels, and up on temporary stilts, it is not yet finished but is utterly mesmerizing in its accuracy, from hood bulges and box wheel arches to the tiny Lancia shield on the nose and the distinctive rear-wing mounts. A rare concession to technology is the MDF jig Radcliffe had made by a CNC router to help form the Lancia’s intricate, 18-spoke wheels, but he can be forgiven for that; they’re shrunk from 15 inches across to just 3.
The intricacy of Radcliffe’s work is even more apparent in his 1:6-scale sculptures, which have to capture the key details with even less steel.
Examining the Delta, my instinct is to click and drag a mouse to rotate the digital-looking form in front of me. The fact you can actually move around it, or even pick it up and hold it in your hand, is a genuine wonder.
In contrast, the towering JCB and Komatsu are edificial—at 3,300 pounds, the latter weighs 10 times as much as a full-scale car wireframe—and required more of an engineering-focused approach to accommodate their trusses and overhangs. He says these creations, which are built piece by piece in component form, are more about structural integrity than playfulness and line—yet he still likens them to big Lego bricks.
You’ve probably gathered that Radcliffe’s clients are eclectic to say the least, with corporate patrons such as Toyota, Jaguar Land Rover, and Nike, the latter for whom he built a giant wireframe Air Max shoe. Other projects include a Citroën DS-style hovercar from the “Judge Dredd” comics that was commissioned by a toy shop in London, and in 2014 Heathrow Airport bought one of his orange London taxis to make a vivid centerpiece for the departure lounge in Terminal 2. As is the art world’s way, pricing is fluid, but Heathrow paid around $130,000. That early Subaru P1 went to a collector for $30,000, while the Countach that Radcliffe sold privately in 2008 went under RM Sotheby’s hammer six years later for $116,500.
Never one to shy away from a challenge, Radcliffe is working on a 1:5-scale sculpture of the dauntingly complex Lancia Delta Integrale Evoluzione.
But you get the distinct feeling fiscal concerns are more a means than an end—a way for Radcliffe to keep doing the work he loves. He’s chomping at the bit to finish the little Integrale (it’s going to be painted brilliant white), while the 1:1 Ferrari F40 is next and will grace the Classic Car Club Manhattan’s cavernous riverside clubhouse in Hell’s Kitchen. I ask what else he’d choose to build, which prompts a flurry of glossy car book pages and various printouts. He admired the “democratic” attainability of the Impreza, and the people’s champion theme continues with the Peugeot 205 GTI, but Porsche features, too, as a Kremer Racing 935 and modified 911 from Japanese outfit RWB are also on the wish list. And then there’s the Ferrari 288 GTO: “Oh my God, those wheel arches! Absolutely filthy!”
And with those words, Radcliffe explains why his work gets gearheads frothing at the brain: He is one, too.
Source: http://chicagoautohaus.com/english-artist-benedict-radcliffe-wired-with-passion-2/
from Chicago Today https://chicagocarspot.wordpress.com/2017/12/16/english-artist-benedict-radcliffe-wired-with-passion-2/
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Frontline Image TV Show
SEMA 2016 was the introduction (pilot) the viewing public had of my production idea for a TV show called "Frontline Image" and I would like to continue providing more coverage of our local car scene. SHAW-TV meeting I had in Victoria yesterday was a success. Stay tuned!
The Lake Cowichan A&W car show is coming up in September!!
August 2017
Introduction into the automotive world. I felt I can continue being part of that world and could provide the viewers of SHAW-TV a show that market or the local scene. So I created SEMA2016 as a pilot project for a locally produced TV Car Show “Frontline Image”.
“SEMA 2016” was the introduction to the viewing public of this production idea and I would like to continue providing more coverage of the local scene with SHAW-TV.
Now, I want to shape my own program from there; it will be exciting and people will want to return and tune in....I realize that tuning in is the trick- the more people that tune in, the more advertising dollars you can potentially secure.
Depending on, of course, your medium....if it is on cable than that is different than gathering likes and people that want to watch on You Tube, so far I have recorded 360 views of the SEMA2016 on Youtube, that is insignificant to most other shows but give it time and it will develop into a greater following. ....It is a wonderful low dollar way of creating content.
What else?
I bring content by doing Invus with car market SMEs (subject matter experts) and car aficionados. Plus. people attending as part of a local automotive community, car club presidents, past show coordinators such as Al Clark (Deuce Days), and retired builders like Rudi Koniczek
I fill the need for a Vancouver Island based automotive specific show produced locally and inexpensively. I will hosting this show plus will have a role in the show’s creative process.
My concept remains as a show that covers all the different local automotive-related scenes. and developed into segments around 5 minutes long depending on the subject content.
Each episode is independent, Each descriptively titled and in one of the following categories:
1). an automotive event
a the organizers, and
b participants,
c the why of it - is it a charity
2). local shop that specializes in:
a automotive-specific service, ie locally fabricated parts
3). visit the regular home garage to talk about owner’s car.
4). feature tuning involved
a) inflating tires how-to
b) episode for move on from there.
Frontlne Image is about engaging with people, the local car shows and
-covering autocross,
drifting and other track- specific stuff,
emergency vehicles, military and much more.
That is the focus of this show. There is much to see on the island and we willhave episodes on touring the Island! Here are shows that are broadcast that are about cars about the people and the community connections. That is the focus of this show.
Equipment required: The show can be recorded with IPhone, digital camera, and computer, under the concept of going on location, and record the owners and their vehicles. Later, editing can be performed at home or in studio with the Final Cut Pro10
Currently, the line-up of three shows will be as follows:
1. Invu with Stew Young and the Langford Car Show
2. Motorgathering 2017 in Lake Cowichan
3. Lake Cowichan A&W Car Show
With at least one other car show on standby should one of these above not pan out as expected.
Thank you!
Les Gardner
Appendix
Island Car Clubs (2016)
Alberni Valley Drag Race Association: 250-724-2405; [email protected]; www.albernidragracing.com
American Truck Historical Society, V.I. chapter: 2507437818; [email protected]; www.aths.org
Ashton Museum Vintage Military Car Club: ashtonarmymuseum.ca; [email protected]
Austin-Healey Club, V.I.: 250-652-6094, [email protected]
Blue Knights Law Enforcement Motor Cycle Club: [email protected]; www.blueknightsbc.org/BCIV
BMW Riders, VI branch: 250-920-7212, www.bmwrvi.org; [email protected]
Cadillac Club of B.C., VI chapter: 250-370-5557; islandchapter@bccadilla cclub.ca; www.bccadillacclub.ca
Cadillac LaSalle Club of Canada: 250-652-5352; [email protected] and [email protected]; cadillac lasalleclubofcanada.com.
Campbell River British Car Club: 250-923-7746; [email protected]
Canadian Classic Chevelles & Beaumonts: 250-652-2149, [email protected]; cdnclassics.chevelles.net
Canadian Model A Ford Foundation: www.cmaff.com; [email protected]
Capital City Chevrolet Club: [email protected] or [email protected]
Century Toppers Rod & Custom Car Club: 2507210724, www.centurytoppers.org
Club Miata Vancouver Island, www.miataclubvanisle.com. President: Cornel Olauson, 250-479-2467
Comox Valley Classic Cruisers: [email protected]; www.cvclassiccruisers.com
Cowichan Valley Car Picnic: 250-748-5031; [email protected]; cvcp.ca
Early Ford V-8 Club: 2503891369, [email protected] or 250-812-9900
Galiano Classic Car Club: 250-539-3404
Gold Wing Road Riders Association, Victoria chapter: 250-386-7306; http: //victoriagoldwings.ca
Island Alfa Romeo Club: 250-744-1830; [email protected]
Island Autocross Championships: 2504778914 or 250 216-4087; www.islandautocross.com
Island Drag Racing Association: 250-286-1321, [email protected].; idra.ca
Island Rallysport Club: 250-246-8282 (Duncan); [email protected]; www.islandrallysport.com
Island Rock Crawlers FourWheel Drive Society: islandrockcrawlers.com; 250-758-9107; [email protected]
Island Vintage T-Bird Club: 250-474-4355
Jaguar Car Club of Victoria: 250-595-7453 or 2506580725; [email protected]; www.jaguarcarclub.ca
Japanese Mini Truck Club: Gord Doucette; 250-812-2548; [email protected]
Juandering Wheels RV Club: [email protected]
Ladysmith Show and Shine; Ron Howe, 250-619-2387; www.ladysmithsns.com
Lions Gate Model A Club, Victoria chapter: 250-655-1276, lionsgatemodelaclub.com; Webmaster@ lionsgatemodelaclub.com
Low for Life Car Club (est. 1994): Low rider and custom vehicles: [email protected]; http: //lowforlifecarclub.shaw webspace.ca/
Maverick/Comet Club International: 250-898-7337; [email protected].
Miata Club, Vancouver Island: John Allott, 2503395337; www.clubmiata.net
Mercedes-Benz Club of America, VI section: [email protected]
Nanaimo Sidewinders FourWheel Drive Club: 2507587205; nanaimosidewinders.com. nanaimosidewinders@hot mail.com
North Island Cruisers: www.nicruisers.ca, [email protected]
Ocean Idlers Car Club: 250-752-7239 or 250-752-9615; [email protected] or [email protected]; oceanidlers.org
Old English Car Club of B.C. (Central Island): www.oecc.ca/cib
Old English Car Club of B.C. (South Island): 250-658-8614; [email protected]; [email protected]; www.oecc.ca/sib
Old English Car Club and Registry Society: [email protected]; www.oecc.ca
Old Time Racers Association: 250-478-1679; 0tra-online.com
Pacific Coast Mustang Association: [email protected]
Saltspring Antique and Classic Car Club: www.saltspringcarclub.com. 250-931-6766
Seaside Cruizers: 2507522325; www.seasidecruizers.com
Smart Marmots: www.clubsmartcar.ca
South Island Straightliners Drag Racing Association (Drag Racers Against Street Racing): 250-655-1514; 250-478-6606; 250-888-3619; www.sislra.ca
Specialty Vehicle Association of B.C. (all regulatory issues regarding motorport and collectible cars): 2507528178 or 250-655-1602; www.sva.bc.ca
Studebaker Drivers Club, V.I. branch: 250-656-6030; [email protected]
Torque Masters Car Club of Sidney: Cam McLennan, 778-426-3843; www.torquemasters.ca
Valley Street Rods: 2507235179; [email protected]
Valley Vintage Wheels Car Club: 250-338-2366; [email protected]
Vancouver Electric Vehicle Association, Islands Chapter Cam Rawlinson, PO Box 8517, Victoria V8W3S1. 250-888-3260, veva.bc.ca/veva-islands/index.php
Vancouver Island Datsun Enthusiasts: [email protected]; 250-474-4986 or 250-658-8900; www.vanisledatsun.com
Vancouver Island F-Body Association (Camaro, Firebird): 250-954-9169; www.vifbody.ca
Vancouver Island Mustang Association: 250-881-1423; [email protected]; vima.mysite.com
Vancouver Island Porsche Club of America: www.virpca.org; [email protected]
Vancouver Island Stangers (performance cars): vistangers.ca; [email protected]
Van Isle A&B Fords (MAFCA): 250-477-3207; [email protected]
Victoria Auto Racing Hall of Fame: 250-652-1303; [email protected], victoria autoracinghalloffame.com
Victoria Corvette Club: [email protected]; victoriavette.com
Victoria MG Club: 2506425980; www.victoriamgclub.ca
Victoria Minis: 250-658-8172, 250-598-0946 or 250-477-9650; www.victoriaminis.com
Victoria Motor Sports Club: [email protected]; [email protected]; www.victoriamotorsports.ca.
Victoria's PT Cruisers: [email protected]; groups.msn.com/Victorias PTCruisers
Victoria Volkswagen Club: 250-381-0767; [email protected]; www.vvwc.ca
Vintage Car Club of Canada, Cowichan Valley chapter: 250-246-3630, [email protected]
Vintage Car Club of Canada, Nanaimo chapter: 2507588265, [email protected]; www.members.shaw.ca/bcvcc/
Vintage Car Club of Canada, North Island chapter: 250-286-6915.
Vintage Car Club of Canada, Victoria chapter: 2506527907, [email protected]; www.vccc.com.
VITRA Memories Group: [email protected]
Volvo Club of B.C.: [email protected]; volvoclubofbc.com
Western Canada CORSA (Corvair): 250-475-6350
Western Command Military Vehicle Preservation Society: 598-6252; [email protected]
Wilroc Sprint Car and Super Modified Racing Series: 250-652-1303; [email protected], wilrocracing.com
WPC Club, Vancouver Island Region (Chrysler Products): Contact: [email protected]; clubs.hemmings.com/ clubsites/viwpc 250-383-2034
From Times-Colonist
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En su segundo año, el premio automotriz internacional más prestigioso del mundo, reúne a los mejores ocho ganadores del “Best of Show”
The Peninsula Hotels anunció a los ocho excepcionales vehículos que serán elegibles para recibir el segundo The Peninsula Classics Best of the Best Award, el galardón automotriz internacional más importante del mundo que reconoce anualmente al automóvil clásico más excepcional.
Los nominados seleccionados, que van desde los primeros vehículos producidos hasta los automóviles de carreras italianos de mediados de los 50, representan a los ganadores “Best of Show” de ocho de las principales competiciones alrededor del mundo. El ganador final de The Peninsula Classics Best of the Best Award se anunciará en una cena privada el martes 15 de agosto de 2017, durante la prestigiosa Monterey Car Week.
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“Estamos encantados de regresar a la Monterey Car Week este año para celebrar al automóvil más excepcional del mundo con The Peninsula Classics Best of the Best Award”, dijo el honorable Sir Michael Kadoorie, co-fundador del galardón y presidente de The Hongkong and Shanghai Hotels, Limited, dueño y operador de The Peninsula Hotels. “Este premio se ha convertido en el galardón más prestigioso del mundo automovilístico, el cual reconoce la maestría en el diseño y los atributos más sofisticados de los mejores automóviles dentro del circuito de certámenes. La atención al detalle, la elegancia, y la tradición son valores muy importantes en The Peninsula, así que el ser patrocinador de este premio, es muy apropiado para nosotros”.
Sir Michael Kadoorie co-fundó el galardón con los mundialmente reconocidos aficionados de autos clásicos Christian Philippsen, William E. “Chip” Connor y Bruce Meyer para celebrar lo mejor de lo que define el mundo automovilístico. Cada uno de los fundadores comparte la pasión y el gusto por los automotores finos, la preservación de su herencia y los impecables proyectos de restauración.
Los finalistas elegidos y considerados para recibir el premio a los mejores automóviles son:
Pegaso Z-102 Berlineta Cúpula 1952: Amelia Island Concours de Sport
Uno de los aproximadamente 80 automóviles de alta gama producidos por el fabricante espa��ol de 1951 a 1958, el Cúpula es famoso por su estilo radical. Sólo se construyeron dos modelos Cúpula que incluían una enorme ventanilla trasera, tubos de escape laterales y salpicaderas parcialmente bordeadas.
Ferrari 400 Superamerica Coupé Superfast II de Pinin Farina 1960: The Gran Turismo Ferrari Cup, Cavallino Classic
Uno de los 14 automóviles 400 SA producidos por Ferrari, este modelo histórico constituyó la base de la extremadamente influyente línea Superfast de super-automóviles y fue el primer diseño verdaderamente aerodinámico de Pinin Farina.
Alfa Romeo 8C 2900B Berlinetta de Touring Superleggera 1938: Chantilly Arts & Elégance Richard Mille
Posiblemente uno de los automóviles más famosos de nuestro tiempo, este excepcional vehículo es conocido por su exagerada saliente trasera, sus falsas parrillas en el cofre y sus dramáticas salpicaderas delanteras. También fue el primero de cinco Berlinettas producidos sobre el chasis 2900B.
Dubonnet Xenia Coupé por Saoutchik 1938: Concours of Elegance UK
Desarrollado por el inventor, corredor de autos y piloto de combate de la Primera Guerra Mundial, André Dubonnet, este modelo es famoso por su influencia aeronáutica. Su sorprendente silueta aerodinámica presenta ventanillas curvas, puertas corredizas y un parabrisas panorámico.
Maserati A6GCS/53 Berlinetta por Pinin Farina1954: Concorso d’Eleganza Villa d’Este
El automóvil de carreras estilo Berlinetta de Pinin Farina es considerado el mejor preservado de los cuatro modelos producidos. Su enigmático estilo deportivo es muy representativo de la maestría en la carrocería de los 50.
Lamborghini Miura P400 SV Coupé por Bertone 1971: Goodwood Cartier Style et Luxe Concours d’Elegance
Con un lugar extraordinario en la historia de Lamborghini, este modelo único fue restaurado con grandes esfuerzos para preservar la autenticidad del automóvil. Ejemplifica el icónico atractivo de la clase Miura, que ha sido ampliamente reconocida como la precursora de los modernos modelos de súper deportivos.
Lancia Astura Cabriolet Tipo Bocca por Pinin Farina 1936: Pebble Beach Concours d’Elegance
Este modelo se distingue por su ventanilla lateral curva, techo convertible y su inusual revestimiento interior de tela –un detalle que muestra su excepcional elegancia y artesanía. Como testamento de la maestría del diseño de Pinin Farina, incluye una moldura lateral larga y brillante que envuelve la parte trasera y se desliza hacia la esquina superior de la parrilla del radiador.
Ferrari 375 MM Spyder por Pinin Farina 1953: The Quail, A Motorsports Gathering
Este automóvil de carreras representa uno de los nueve modelos producidos. Pinin Farina fue comisionado por Jim Kimberly para completar esta pieza única conocida hoy en día por su glorioso color rojo Kimberly.
Los ganadores The Best of Show serán juzgados por 24 prominentes expertos automotrices, diseñadores y celebridades destacadas en el mundo automovilístico, incluyendo a:
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Anne Asensio, quien ha jugado un papel influyente y ejecutivo en la industria automotriz por casi 20 años, además de haber ganado múltiples reconocimientos.
Chris Bangle, mejor conocido por su trabajo como jefe de diseño para BMW Group, donde fue responsable de traer los diseños de BMW, Mini Cooper, y Rolls Royce al siglo XXI.
Peter Brock, mejor conocido por su trabajo en el Shelby Daytona Cobra Coupe y el Corvette Sting Ray, ahora dirige su empresa Aerovault para fabricar tráilers de un sólo remolque aerodinámicamente eficientes.
Ian Callum, director de diseño para Jaguar Cars.
Ian Cameron, fue director de diseño para Rolls-Royce Motor Cars y embajador de marca para BMW Group Classic, Cameron es ahora un aficionado retirado que pasa su tiempo trabajando en automóviles clásicos.
Luc Donckerwolke, diseñador para la marca de lujo Genesis de Hyundai Motor Group.
Fabio Filippini, ex-jefe creativo en Pinin Farina, Filippini creó muchos prototipos de automóviles que han sido galardonados. Sus trabajos más recientes incluyen los modelos de Fittipaldi EF7 Vision Gran Turismo por Pinin Farina y el Hybrid Kinetic H600 también por Pinin Farina, presentados en la Geneva Motor Show en 2017.
Henry Ford III, el tataranieto del fundador de Ford Motor, Henry Ford.
Su Alteza Real (HRH, por sus siglas en inglés), el Príncipe Michael de Kent, primo paterno en primer grado de la Reina Isabel II, tiene un interés personal en el automovilismo, la aviación y los viajes. Actualmente ocupa el puesto de presidente del Royal Automobile Club, uno de los clubes automovilísticos más exclusivos del mundo y la más prestigiosa y antigua organización automotriz del Reino Unido.
Ralph Lauren, diseñador internacional de moda y estilo de vida, conocido dentro del sector automovilístico por su mundialmente famosa colección de automóviles.
Jay Leno, el aclamado anfitrión de televisión en la serie “Jay Leno’s Garage” de CNBC que debutó en 2015. El programa ha sido reconocido con varios premios Emmy y nominaciones para el Outstanding Special Class–Short-Format Nonfiction Programs.
Flavio Manzoni, diseñador automotriz mejor conocido por su trabajo en Ferrari, Lancia y Volkswagen. Su trabajo más reciente incluye el F12 Tdf (Tour de France), la versión más extrema del F12 Berlinetta, el primer Ferrari con dirección hidráulica y el GTC4Lusso, presentado en el show 2016 Geneva.
El Conde de March, Charles, Earl de March, es el hijo mayor del Duque de Richmond, dueño de Goodwood en West Sussex y fundador del Goodwood Festival of Speed y el Goodwood Revival. Es un fotógrafo muy exitoso y también es presidente del British Automobile Racing Club.
Nick Mason, ex-baterista de Pink Floyd y fanático de los automóviles clásicos. A pesar de su carrera de 50 años como baterista de Pink Floyd, Nick ha logrado competir regularmente en varias carreras automovilísticas, incluidas cinco participaciones en Le Mans.
François Melcion, director general de Rétromobile chez Comexposium, regularmente es invitado como juez en certámenes, incluyendo el Pebble Beach Concours d’Elegance, el anteriormente llamado Louis Vuitton Classic, y el Chantilly Art & Elegance.
Gordon Murray, mejor conocido por su trabajo como diseñador de automóviles de carrera Fórmula 1 y el vehículo para carretera McLaren F1.
Shiro Nakamura, ex-vicepresidente senior y jefe creativo para Nissan Motor Corporation.
Ken Okuyama, es ampliamente conocido por su trabajo como director de diseño para Pinin Farina S.p.A., donde diseñó y supervisó proyectos como el Ferrari Enzo y el Maserati Quattroporte.
Adolfo Orsi Jr., conocido historiador de automovilismo, nieto e hijo de Adolfo y Omer Orsi, respectivamente, dueños de Maserati entre 1937 y 1967.
Rana Manvendra Singh, miembro de la antigua familia real de Barwani en Madhya Pradesh, India, es un afamado experto en automóviles vintage y clásicos en ese país.
Ratan Tata, mejor conocido por su papel como presidente de Tata Sons, una compañía propiedad del grupo Tata.
Dato Seri Jean Todt, es famoso por haber llevado a la Scuderia Ferrari a ganar 14 títulos Fórmula 1 y 106 victorias del Grand Prix antes de ocupar valiosos puestos dentro del Ferrari-Maserati Group. También fue elegido presidente de la Fédération Internationale de l’Automobile (FIA, por sus siglas en francés) en 2009, y de nuevamente en 2013.
Gordon Wagener, jefe de diseño de Mercedes-Benz y todas las marcas de Daimler AG. Bajo su liderazgo, se creó la filosofía de diseño de “Sensual Purity”, que ahora sigue siendo desarrollada para definir el lujo moderno y expresar un aspecto esencial de la marca.
Edward Welburn, jubilado de General Motors Design después de 44 años de dedicado servicio, Welburn ha recibido recientemente un doctorado honorario en Bellas Artes por el College for Creative Studies debido a su suntuosa carrera en diseño. También fue añadido al prestigioso Automotive Hall of Fame (Salón de la Fama Automotriz).
Después del anuncio del martes, el vehículo ganador será reconocido en el escenario de la quinceava edición anual de The Quail, A Motorsports Gathering en agosto 18 de este año.
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Anunciaron los afamados jueces y finalistas para la segunda edición anual de — The Peninsula Classics Best of the Best Award
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English Artist Benedict Radcliffe Wired with Passion
In the opening scene of “Who Framed Roger Rabbit,” Roger stars opposite a sweet, monosyllabic Baby Herman in the animated short, “Something’s Cooking.” Roger flubs his part, the scene is cut, and Herman becomes a garrulous curmudgeon, screaming blue murder at the rabbit before storming off the cartoon set and into the grimy studio lot, possibly in search of a Montecristo No. 2. That moment when Herman and his chubby, watercolor backside waddle into the real world was an absolute mind-bender for children like me at the time.
Today, looking at photographs of English artist Benedict Radcliffe’s automotive wireframe sculptures, the same fuse has blown. An ethereal, gleaming white Toyota Corolla being lifted and carried into a truck by six men, one of whom seems to be at once inside and outside the car. A black London taxi driving past a fluorescent orange outline of the same that seems superimposed but somehow casts a shadow. A hot-pink Range Rover Evoque that looks more hologram than solid matter, and a dayglo Lamborghini Countach that pierces the humdrum of an everyday street scene as an oblivious pigeon pads by. It’s abstract meets everyday, and it’s absolutely stunning.
Specializing in a kind of augmented reality, Benedict Radcliffe builds wireframe car sculptures that capture the essence of the originals.
Amazingly, all this visual chicanery springs from plain old steel rod and a bit of paint. To find out how, I visit Radcliffe’s London studio—an unremarkable, graffitied industrial unit on a quiet East End street, inside which the alchemy takes place. When Radcliffe first took over the space, he filled it with a bright pink skate park commissioned for a shoe launch. Now he lives in the loft, and the main space below is dominated by a huge “datum table” where his wireframe sculptures take shape. Hanging on one side, there’s a comically outsized bicycle frame, and the opposite wall is plastered with full-scale blueprints of a Ferrari F40. By the door sits a white wireframe Honda Gold Wing he displayed at the city’s prestigious Victoria and Albert Museum in 2012.
Chatting in the studio’s kitchen, Radcliffe explains where it all began. While studying at Glasgow’s Mackintosh School of Architecture, he was trained in fabrication and welding by Andy Scott, creator of many landmark installations including “The Kelpies,” a pair of 100-foot horse’s heads sculpted in metal that tower over one of Scotland’s main highways. A year after graduating in 2004, Radcliffe created “Modern Japanese Classic”—a white wireframe Subaru Impreza P1—as part of a personal exhibition. Too large to fit inside the venue, it was “parked” on the street outside, dazzling among the dank, weathered masonry of Glasgow’s city center. With that, his signature style was born.
Most pieces have been 1:1 scale, but he’s also produced smaller works of late, building a 1:6 Toyota Celica Mk7 on skateboard wheels for Mai Ikuzawa, daughter of Le Mans and Formula 2 racer and team owner Tetsu Ikuzawa. Yet he’s not afraid to go large, either: A life-sized JCB JS200 tracked excavator wireframe now sits at the plant manufacturer’s headquarters in England, and a 20-foot-long, six-wheeled Komatsu mining truck is now taking shape at a bigger facility elsewhere.
“It’s quite straightforward—cutting, welding, and grinding—but it’s the manipulation of the steel rod I’m drawing with that is really important.”
But the process remains fairly consistent, regardless of size. Radcliffe collates technical drawings and photographs from the internet, then traces out front, side, and rear elevations by hand to the required scale. It’s far from a simple case of copying what he sees, though. Even at this early stage, deft artistic wit is called for as he distills the vehicle’s form into key features that “capture the shape of the car with an economy of line,” as he neatly puts it. He uses just one gauge of steel rod for each sculpture—0.12 inch on small pieces and usually 0.39 inch on 1:1s—which means he recreates a highly complex, multisurfaced solid form using only what to all intents and purposes is a single, bendable cylinder of metal.
Radcliffe eschews computer-aided design and 3D-printed prototypes in favor of a manual process, literally building on his sketches.
“Everything I do is quite low-tech,” he says. “I’ll start with the blueprints, then extrude up from the plan. I might concentrate on the front bumper first, then the back bumper and the light clusters, building in components. It’s quite straightforward metalwork—cutting, welding, and grinding—but it’s the manipulation of the steel rod I’m drawing with that is really important.”
A homemade (and quite secret) apparatus helps Radcliffe bend the wire, and although a temporary grid is built to help keep the proportions correct, there’s improvisation to the building process, too: little changes here and there, cutting out and replacing lengths of rod, and experimenting with forms until he’s happy with the result. Pointing out the two mismatched loops that form each door mirror on Izukawa’s Celica, he elaborates: “These mirrors are quite abstract, but if I’d just had one loop, they would have looked two-dimensional. A second loop gives more form and depth.”
The Komatsu excavator sculpture weighs just a fraction of the real thing but still tips the scales at 3,300 pounds.
Radcliffe gets some help when it comes to the megasculptures—for example, fabrication of the 100 identical loops that make up the JCB’s tracks were outsourced after he created the master—but otherwise he does all the work himself, including the welding (TIG on the small sculptures, MIG on the rest). It’s often frustrating work—when heat from the welding gun distorts the metal, for instance—but once things start to take shape, it becomes a joy.
“The trick is to make them look simple, but they’re actually quite tricky. Not everyone has the patience,” he acknowledges, “but it’s actually really good fun. After about two months, once I’ve done all the hard work, I can experiment with how to do stuff. Someone might come from an engineer’s point of view and do it differently, but I can go a bit free-form and be more playful.”
The pink Celica and a white BMW E30 M3 Evolution (also 1:6 scale) took almost as long to build as the 10 to 16 weeks required to make a full-scale car, partly due to their intricacy. “You’ve got more steel to mess around with on the big ones, so you can make more mistakes,” Radcliffe says. “The small ones are really fiddly, and it’s difficult to get the welder in.”
The magic is all in the bending of the steel rod.
And the smaller the sculpture, the more the thickness of the paint has an effect on the visual gravity of the finished article. Radcliffe usually spray-paints, but the Celica and M3 were powder coated due to their diminutive size, which bulked them up and produced a tougher look versus the naked wireframe.
So, to retain more detail, Radcliffe kept the 0.12-inch rod but moved up to 1:5 scale for his subsequent project, a Lancia Delta Integrale Evoluzione. Unpainted, without wheels, and up on temporary stilts, it is not yet finished but is utterly mesmerizing in its accuracy, from hood bulges and box wheel arches to the tiny Lancia shield on the nose and the distinctive rear-wing mounts. A rare concession to technology is the MDF jig Radcliffe had made by a CNC router to help form the Lancia’s intricate, 18-spoke wheels, but he can be forgiven for that; they’re shrunk from 15 inches across to just 3.
The intricacy of Radcliffe’s work is even more apparent in his 1:6-scale sculptures, which have to capture the key details with even less steel.
Examining the Delta, my instinct is to click and drag a mouse to rotate the digital-looking form in front of me. The fact you can actually move around it, or even pick it up and hold it in your hand, is a genuine wonder.
In contrast, the towering JCB and Komatsu are edificial—at 3,300 pounds, the latter weighs 10 times as much as a full-scale car wireframe—and required more of an engineering-focused approach to accommodate their trusses and overhangs. He says these creations, which are built piece by piece in component form, are more about structural integrity than playfulness and line—yet he still likens them to big Lego bricks.
You’ve probably gathered that Radcliffe’s clients are eclectic to say the least, with corporate patrons such as Toyota, Jaguar Land Rover, and Nike, the latter for whom he built a giant wireframe Air Max shoe. Other projects include a Citroën DS-style hovercar from the “Judge Dredd” comics that was commissioned by a toy shop in London, and in 2014 Heathrow Airport bought one of his orange London taxis to make a vivid centerpiece for the departure lounge in Terminal 2. As is the art world’s way, pricing is fluid, but Heathrow paid around $130,000. That early Subaru P1 went to a collector for $30,000, while the Countach that Radcliffe sold privately in 2008 went under RM Sotheby’s hammer six years later for $116,500.
Never one to shy away from a challenge, Radcliffe is working on a 1:5-scale sculpture of the dauntingly complex Lancia Delta Integrale Evoluzione.
But you get the distinct feeling fiscal concerns are more a means than an end—a way for Radcliffe to keep doing the work he loves. He’s chomping at the bit to finish the little Integrale (it’s going to be painted brilliant white), while the 1:1 Ferrari F40 is next and will grace the Classic Car Club Manhattan’s cavernous riverside clubhouse in Hell’s Kitchen. I ask what else he’d choose to build, which prompts a flurry of glossy car book pages and various printouts. He admired the “democratic” attainability of the Impreza, and the people’s champion theme continues with the Peugeot 205 GTI, but Porsche features, too, as a Kremer Racing 935 and modified 911 from Japanese outfit RWB are also on the wish list. And then there’s the Ferrari 288 GTO: “Oh my God, those wheel arches! Absolutely filthy!”
And with those words, Radcliffe explains why his work gets gearheads frothing at the brain: He is one, too.
The post English Artist Benedict Radcliffe Wired with Passion appeared first on Automobile Magazine.
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English Artist Benedict Radcliffe Wired with Passion
In the opening scene of “Who Framed Roger Rabbit,” Roger stars opposite a sweet, monosyllabic Baby Herman in the animated short, “Something’s Cooking.” Roger flubs his part, the scene is cut, and Herman becomes a garrulous curmudgeon, screaming blue murder at the rabbit before storming off the cartoon set and into the grimy studio lot, possibly in search of a Montecristo No. 2. That moment when Herman and his chubby, watercolor backside waddle into the real world was an absolute mind-bender for children like me at the time.
Today, looking at photographs of English artist Benedict Radcliffe’s automotive wireframe sculptures, the same fuse has blown. An ethereal, gleaming white Toyota Corolla being lifted and carried into a truck by six men, one of whom seems to be at once inside and outside the car. A black London taxi driving past a fluorescent orange outline of the same that seems superimposed but somehow casts a shadow. A hot-pink Range Rover Evoque that looks more hologram than solid matter, and a dayglo Lamborghini Countach that pierces the humdrum of an everyday street scene as an oblivious pigeon pads by. It’s abstract meets everyday, and it’s absolutely stunning.
Specializing in a kind of augmented reality, Benedict Radcliffe builds wireframe car sculptures that capture the essence of the originals.
Amazingly, all this visual chicanery springs from plain old steel rod and a bit of paint. To find out how, I visit Radcliffe’s London studio—an unremarkable, graffitied industrial unit on a quiet East End street, inside which the alchemy takes place. When Radcliffe first took over the space, he filled it with a bright pink skate park commissioned for a shoe launch. Now he lives in the loft, and the main space below is dominated by a huge “datum table” where his wireframe sculptures take shape. Hanging on one side, there’s a comically outsized bicycle frame, and the opposite wall is plastered with full-scale blueprints of a Ferrari F40. By the door sits a white wireframe Honda Gold Wing he displayed at the city’s prestigious Victoria and Albert Museum in 2012.
Chatting in the studio’s kitchen, Radcliffe explains where it all began. While studying at Glasgow’s Mackintosh School of Architecture, he was trained in fabrication and welding by Andy Scott, creator of many landmark installations including “The Kelpies,” a pair of 100-foot horse’s heads sculpted in metal that tower over one of Scotland’s main highways. A year after graduating in 2004, Radcliffe created “Modern Japanese Classic”—a white wireframe Subaru Impreza P1—as part of a personal exhibition. Too large to fit inside the venue, it was “parked” on the street outside, dazzling among the dank, weathered masonry of Glasgow’s city center. With that, his signature style was born.
Most pieces have been 1:1 scale, but he’s also produced smaller works of late, building a 1:6 Toyota Celica Mk7 on skateboard wheels for Mai Ikuzawa, daughter of Le Mans and Formula 2 racer and team owner Tetsu Ikuzawa. Yet he’s not afraid to go large, either: A life-sized JCB JS200 tracked excavator wireframe now sits at the plant manufacturer’s headquarters in England, and a 20-foot-long, six-wheeled Komatsu mining truck is now taking shape at a bigger facility elsewhere.
“It’s quite straightforward—cutting, welding, and grinding—but it’s the manipulation of the steel rod I’m drawing with that is really important.”
But the process remains fairly consistent, regardless of size. Radcliffe collates technical drawings and photographs from the internet, then traces out front, side, and rear elevations by hand to the required scale. It’s far from a simple case of copying what he sees, though. Even at this early stage, deft artistic wit is called for as he distills the vehicle’s form into key features that “capture the shape of the car with an economy of line,” as he neatly puts it. He uses just one gauge of steel rod for each sculpture—0.12 inch on small pieces and usually 0.39 inch on 1:1s—which means he recreates a highly complex, multisurfaced solid form using only what to all intents and purposes is a single, bendable cylinder of metal.
Radcliffe eschews computer-aided design and 3D-printed prototypes in favor of a manual process, literally building on his sketches.
“Everything I do is quite low-tech,” he says. “I’ll start with the blueprints, then extrude up from the plan. I might concentrate on the front bumper first, then the back bumper and the light clusters, building in components. It’s quite straightforward metalwork—cutting, welding, and grinding—but it’s the manipulation of the steel rod I’m drawing with that is really important.”
A homemade (and quite secret) apparatus helps Radcliffe bend the wire, and although a temporary grid is built to help keep the proportions correct, there’s improvisation to the building process, too: little changes here and there, cutting out and replacing lengths of rod, and experimenting with forms until he’s happy with the result. Pointing out the two mismatched loops that form each door mirror on Izukawa’s Celica, he elaborates: “These mirrors are quite abstract, but if I’d just had one loop, they would have looked two-dimensional. A second loop gives more form and depth.”
The Komatsu excavator sculpture weighs just a fraction of the real thing but still tips the scales at 3,300 pounds.
Radcliffe gets some help when it comes to the megasculptures—for example, fabrication of the 100 identical loops that make up the JCB’s tracks were outsourced after he created the master—but otherwise he does all the work himself, including the welding (TIG on the small sculptures, MIG on the rest). It’s often frustrating work—when heat from the welding gun distorts the metal, for instance—but once things start to take shape, it becomes a joy.
“The trick is to make them look simple, but they’re actually quite tricky. Not everyone has the patience,” he acknowledges, “but it’s actually really good fun. After about two months, once I’ve done all the hard work, I can experiment with how to do stuff. Someone might come from an engineer’s point of view and do it differently, but I can go a bit free-form and be more playful.”
The pink Celica and a white BMW E30 M3 Evolution (also 1:6 scale) took almost as long to build as the 10 to 16 weeks required to make a full-scale car, partly due to their intricacy. “You’ve got more steel to mess around with on the big ones, so you can make more mistakes,” Radcliffe says. “The small ones are really fiddly, and it’s difficult to get the welder in.”
The magic is all in the bending of the steel rod.
And the smaller the sculpture, the more the thickness of the paint has an effect on the visual gravity of the finished article. Radcliffe usually spray-paints, but the Celica and M3 were powder coated due to their diminutive size, which bulked them up and produced a tougher look versus the naked wireframe.
So, to retain more detail, Radcliffe kept the 0.12-inch rod but moved up to 1:5 scale for his subsequent project, a Lancia Delta Integrale Evoluzione. Unpainted, without wheels, and up on temporary stilts, it is not yet finished but is utterly mesmerizing in its accuracy, from hood bulges and box wheel arches to the tiny Lancia shield on the nose and the distinctive rear-wing mounts. A rare concession to technology is the MDF jig Radcliffe had made by a CNC router to help form the Lancia’s intricate, 18-spoke wheels, but he can be forgiven for that; they’re shrunk from 15 inches across to just 3.
The intricacy of Radcliffe’s work is even more apparent in his 1:6-scale sculptures, which have to capture the key details with even less steel.
Examining the Delta, my instinct is to click and drag a mouse to rotate the digital-looking form in front of me. The fact you can actually move around it, or even pick it up and hold it in your hand, is a genuine wonder.
In contrast, the towering JCB and Komatsu are edificial—at 3,300 pounds, the latter weighs 10 times as much as a full-scale car wireframe—and required more of an engineering-focused approach to accommodate their trusses and overhangs. He says these creations, which are built piece by piece in component form, are more about structural integrity than playfulness and line—yet he still likens them to big Lego bricks.
You’ve probably gathered that Radcliffe’s clients are eclectic to say the least, with corporate patrons such as Toyota, Jaguar Land Rover, and Nike, the latter for whom he built a giant wireframe Air Max shoe. Other projects include a Citroën DS-style hovercar from the “Judge Dredd” comics that was commissioned by a toy shop in London, and in 2014 Heathrow Airport bought one of his orange London taxis to make a vivid centerpiece for the departure lounge in Terminal 2. As is the art world’s way, pricing is fluid, but Heathrow paid around $130,000. That early Subaru P1 went to a collector for $30,000, while the Countach that Radcliffe sold privately in 2008 went under RM Sotheby’s hammer six years later for $116,500.
Never one to shy away from a challenge, Radcliffe is working on a 1:5-scale sculpture of the dauntingly complex Lancia Delta Integrale Evoluzione.
But you get the distinct feeling fiscal concerns are more a means than an end—a way for Radcliffe to keep doing the work he loves. He’s chomping at the bit to finish the little Integrale (it’s going to be painted brilliant white), while the 1:1 Ferrari F40 is next and will grace the Classic Car Club Manhattan’s cavernous riverside clubhouse in Hell’s Kitchen. I ask what else he’d choose to build, which prompts a flurry of glossy car book pages and various printouts. He admired the “democratic” attainability of the Impreza, and the people’s champion theme continues with the Peugeot 205 GTI, but Porsche features, too, as a Kremer Racing 935 and modified 911 from Japanese outfit RWB are also on the wish list. And then there’s the Ferrari 288 GTO: “Oh my God, those wheel arches! Absolutely filthy!”
And with those words, Radcliffe explains why his work gets gearheads frothing at the brain: He is one, too.
The post English Artist Benedict Radcliffe Wired with Passion appeared first on Automobile Magazine.
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English Artist Benedict Radcliffe Wired with Passion
In the opening scene of “Who Framed Roger Rabbit,” Roger stars opposite a sweet, monosyllabic Baby Herman in the animated short, “Something’s Cooking.” Roger flubs his part, the scene is cut, and Herman becomes a garrulous curmudgeon, screaming blue murder at the rabbit before storming off the cartoon set and into the grimy studio lot, possibly in search of a Montecristo No. 2. That moment when Herman and his chubby, watercolor backside waddle into the real world was an absolute mind-bender for children like me at the time.
Today, looking at photographs of English artist Benedict Radcliffe’s automotive wireframe sculptures, the same fuse has blown. An ethereal, gleaming white Toyota Corolla being lifted and carried into a truck by six men, one of whom seems to be at once inside and outside the car. A black London taxi driving past a fluorescent orange outline of the same that seems superimposed but somehow casts a shadow. A hot-pink Range Rover Evoque that looks more hologram than solid matter, and a dayglo Lamborghini Countach that pierces the humdrum of an everyday street scene as an oblivious pigeon pads by. It’s abstract meets everyday, and it’s absolutely stunning.
Specializing in a kind of augmented reality, Benedict Radcliffe builds wireframe car sculptures that capture the essence of the originals.
Amazingly, all this visual chicanery springs from plain old steel rod and a bit of paint. To find out how, I visit Radcliffe’s London studio—an unremarkable, graffitied industrial unit on a quiet East End street, inside which the alchemy takes place. When Radcliffe first took over the space, he filled it with a bright pink skate park commissioned for a shoe launch. Now he lives in the loft, and the main space below is dominated by a huge “datum table” where his wireframe sculptures take shape. Hanging on one side, there’s a comically outsized bicycle frame, and the opposite wall is plastered with full-scale blueprints of a Ferrari F40. By the door sits a white wireframe Honda Gold Wing he displayed at the city’s prestigious Victoria and Albert Museum in 2012.
Chatting in the studio’s kitchen, Radcliffe explains where it all began. While studying at Glasgow’s Mackintosh School of Architecture, he was trained in fabrication and welding by Andy Scott, creator of many landmark installations including “The Kelpies,” a pair of 100-foot horse’s heads sculpted in metal that tower over one of Scotland’s main highways. A year after graduating in 2004, Radcliffe created “Modern Japanese Classic”—a white wireframe Subaru Impreza P1—as part of a personal exhibition. Too large to fit inside the venue, it was “parked” on the street outside, dazzling among the dank, weathered masonry of Glasgow’s city center. With that, his signature style was born.
Most pieces have been 1:1 scale, but he’s also produced smaller works of late, building a 1:6 Toyota Celica Mk7 on skateboard wheels for Mai Ikuzawa, daughter of Le Mans and Formula 2 racer and team owner Tetsu Ikuzawa. Yet he’s not afraid to go large, either: A life-sized JCB JS200 tracked excavator wireframe now sits at the plant manufacturer’s headquarters in England, and a 20-foot-long, six-wheeled Komatsu mining truck is now taking shape at a bigger facility elsewhere.
“It’s quite straightforward—cutting, welding, and grinding—but it’s the manipulation of the steel rod I’m drawing with that is really important.”
But the process remains fairly consistent, regardless of size. Radcliffe collates technical drawings and photographs from the internet, then traces out front, side, and rear elevations by hand to the required scale. It’s far from a simple case of copying what he sees, though. Even at this early stage, deft artistic wit is called for as he distills the vehicle’s form into key features that “capture the shape of the car with an economy of line,” as he neatly puts it. He uses just one gauge of steel rod for each sculpture—0.12 inch on small pieces and usually 0.39 inch on 1:1s—which means he recreates a highly complex, multisurfaced solid form using only what to all intents and purposes is a single, bendable cylinder of metal.
Radcliffe eschews computer-aided design and 3D-printed prototypes in favor of a manual process, literally building on his sketches.
“Everything I do is quite low-tech,” he says. “I’ll start with the blueprints, then extrude up from the plan. I might concentrate on the front bumper first, then the back bumper and the light clusters, building in components. It’s quite straightforward metalwork—cutting, welding, and grinding—but it’s the manipulation of the steel rod I’m drawing with that is really important.”
A homemade (and quite secret) apparatus helps Radcliffe bend the wire, and although a temporary grid is built to help keep the proportions correct, there’s improvisation to the building process, too: little changes here and there, cutting out and replacing lengths of rod, and experimenting with forms until he’s happy with the result. Pointing out the two mismatched loops that form each door mirror on Izukawa’s Celica, he elaborates: “These mirrors are quite abstract, but if I’d just had one loop, they would have looked two-dimensional. A second loop gives more form and depth.”
The Komatsu excavator sculpture weighs just a fraction of the real thing but still tips the scales at 3,300 pounds.
Radcliffe gets some help when it comes to the megasculptures—for example, fabrication of the 100 identical loops that make up the JCB’s tracks were outsourced after he created the master—but otherwise he does all the work himself, including the welding (TIG on the small sculptures, MIG on the rest). It’s often frustrating work—when heat from the welding gun distorts the metal, for instance—but once things start to take shape, it becomes a joy.
“The trick is to make them look simple, but they’re actually quite tricky. Not everyone has the patience,” he acknowledges, “but it’s actually really good fun. After about two months, once I’ve done all the hard work, I can experiment with how to do stuff. Someone might come from an engineer’s point of view and do it differently, but I can go a bit free-form and be more playful.”
The pink Celica and a white BMW E30 M3 Evolution (also 1:6 scale) took almost as long to build as the 10 to 16 weeks required to make a full-scale car, partly due to their intricacy. “You’ve got more steel to mess around with on the big ones, so you can make more mistakes,” Radcliffe says. “The small ones are really fiddly, and it’s difficult to get the welder in.”
The magic is all in the bending of the steel rod.
And the smaller the sculpture, the more the thickness of the paint has an effect on the visual gravity of the finished article. Radcliffe usually spray-paints, but the Celica and M3 were powder coated due to their diminutive size, which bulked them up and produced a tougher look versus the naked wireframe.
So, to retain more detail, Radcliffe kept the 0.12-inch rod but moved up to 1:5 scale for his subsequent project, a Lancia Delta Integrale Evoluzione. Unpainted, without wheels, and up on temporary stilts, it is not yet finished but is utterly mesmerizing in its accuracy, from hood bulges and box wheel arches to the tiny Lancia shield on the nose and the distinctive rear-wing mounts. A rare concession to technology is the MDF jig Radcliffe had made by a CNC router to help form the Lancia’s intricate, 18-spoke wheels, but he can be forgiven for that; they’re shrunk from 15 inches across to just 3.
The intricacy of Radcliffe’s work is even more apparent in his 1:6-scale sculptures, which have to capture the key details with even less steel.
Examining the Delta, my instinct is to click and drag a mouse to rotate the digital-looking form in front of me. The fact you can actually move around it, or even pick it up and hold it in your hand, is a genuine wonder.
In contrast, the towering JCB and Komatsu are edificial—at 3,300 pounds, the latter weighs 10 times as much as a full-scale car wireframe—and required more of an engineering-focused approach to accommodate their trusses and overhangs. He says these creations, which are built piece by piece in component form, are more about structural integrity than playfulness and line—yet he still likens them to big Lego bricks.
You’ve probably gathered that Radcliffe’s clients are eclectic to say the least, with corporate patrons such as Toyota, Jaguar Land Rover, and Nike, the latter for whom he built a giant wireframe Air Max shoe. Other projects include a Citroën DS-style hovercar from the “Judge Dredd” comics that was commissioned by a toy shop in London, and in 2014 Heathrow Airport bought one of his orange London taxis to make a vivid centerpiece for the departure lounge in Terminal 2. As is the art world’s way, pricing is fluid, but Heathrow paid around $130,000. That early Subaru P1 went to a collector for $30,000, while the Countach that Radcliffe sold privately in 2008 went under RM Sotheby’s hammer six years later for $116,500.
Never one to shy away from a challenge, Radcliffe is working on a 1:5-scale sculpture of the dauntingly complex Lancia Delta Integrale Evoluzione.
But you get the distinct feeling fiscal concerns are more a means than an end—a way for Radcliffe to keep doing the work he loves. He’s chomping at the bit to finish the little Integrale (it’s going to be painted brilliant white), while the 1:1 Ferrari F40 is next and will grace the Classic Car Club Manhattan’s cavernous riverside clubhouse in Hell’s Kitchen. I ask what else he’d choose to build, which prompts a flurry of glossy car book pages and various printouts. He admired the “democratic” attainability of the Impreza, and the people’s champion theme continues with the Peugeot 205 GTI, but Porsche features, too, as a Kremer Racing 935 and modified 911 from Japanese outfit RWB are also on the wish list. And then there’s the Ferrari 288 GTO: “Oh my God, those wheel arches! Absolutely filthy!”
And with those words, Radcliffe explains why his work gets gearheads frothing at the brain: He is one, too.
The post English Artist Benedict Radcliffe Wired with Passion appeared first on Automobile Magazine.
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English Artist Benedict Radcliffe Wired With Passion
In the opening scene of “Who Framed Roger Rabbit,” Roger stars opposite a sweet, monosyllabic Baby Herman in the animated short, “Something’s Cooking.” Roger flubs his part, the scene is cut, and Herman becomes a garrulous curmudgeon, screaming blue murder at the rabbit before storming off the cartoon set and into the grimy studio lot, possibly in search of a Montecristo No. 2. That moment when Herman and his chubby, watercolor backside waddle into the real world was an absolute mind-bender for children like me at the time.
Today, looking at photographs of English artist Benedict Radcliffe’s automotive wireframe sculptures, the same fuse has blown. An ethereal, gleaming white Toyota Corolla being lifted and carried into a truck by six men, one of whom seems to be at once inside and outside the car. A black London taxi driving past a fluorescent orange outline of the same that seems superimposed but somehow casts a shadow. A hot-pink Range Rover Evoque that looks more hologram than solid matter, and a dayglo Lamborghini Countach that pierces the humdrum of an everyday street scene as an oblivious pigeon pads by. It’s abstract meets everyday, and it’s absolutely stunning.
Specializing in a kind of augmented reality, Benedict Radcliffe builds wireframe car sculptures that capture the essence of the originals.
Amazingly, all this visual chicanery springs from plain old steel rod and a bit of paint. To find out how, I visit Radcliffe’s London studio—an unremarkable, graffitied industrial unit on a quiet East End street, inside which the alchemy takes place. When Radcliffe first took over the space, he filled it with a bright pink skate park commissioned for a shoe launch. Now he lives in the loft, and the main space below is dominated by a huge “datum table” where his wireframe sculptures take shape. Hanging on one side, there’s a comically outsized bicycle frame, and the opposite wall is plastered with full-scale blueprints of a Ferrari F40. By the door sits a white wireframe Honda Gold Wing he displayed at the city’s prestigious Victoria and Albert Museum in 2012.
Chatting in the studio’s kitchen, Radcliffe explains where it all began. While studying at Glasgow’s Mackintosh School of Architecture, he was trained in fabrication and welding by Andy Scott, creator of many landmark installations including “The Kelpies,” a pair of 100-foot horse’s heads sculpted in metal that tower over one of Scotland’s main highways. A year after graduating in 2004, Radcliffe created “Modern Japanese Classic”—a white wireframe Subaru Impreza P1—as part of a personal exhibition. Too large to fit inside the venue, it was “parked” on the street outside, dazzling among the dank, weathered masonry of Glasgow’s city center. With that, his signature style was born.
Most pieces have been 1:1 scale, but he’s also produced smaller works of late, building a 1:6 Toyota Celica Mk7 on skateboard wheels for Mai Ikuzawa, daughter of Le Mans and Formula 2 racer and team owner Tetsu Ikuzawa. Yet he’s not afraid to go large, either: A life-sized JCB JS200 tracked excavator wireframe now sits at the plant manufacturer’s headquarters in England, and a 20-foot-long, six-wheeled Komatsu mining truck is now taking shape at a bigger facility elsewhere.
“It’s quite straightforward—cutting, welding, and grinding—but it’s the manipulation of the steel rod I’m drawing with that is really important.”
But the process remains fairly consistent, regardless of size. Radcliffe collates technical drawings and photographs from the internet, then traces out front, side, and rear elevations by hand to the required scale. It’s far from a simple case of copying what he sees, though. Even at this early stage, deft artistic wit is called for as he distills the vehicle’s form into key features that “capture the shape of the car with an economy of line,” as he neatly puts it. He uses just one gauge of steel rod for each sculpture—0.12 inch on small pieces and usually 0.39 inch on 1:1s—which means he recreates a highly complex, multisurfaced solid form using only what to all intents and purposes is a single, bendable cylinder of metal.
Radcliffe eschews computer-aided design and 3D-printed prototypes in favor of a manual process, literally building on his sketches.
“Everything I do is quite low-tech,” he says. “I’ll start with the blueprints, then extrude up from the plan. I might concentrate on the front bumper first, then the back bumper and the light clusters, building in components. It’s quite straightforward metalwork—cutting, welding, and grinding—but it’s the manipulation of the steel rod I’m drawing with that is really important.”
A homemade (and quite secret) apparatus helps Radcliffe bend the wire, and although a temporary grid is built to help keep the proportions correct, there’s improvisation to the building process, too: little changes here and there, cutting out and replacing lengths of rod, and experimenting with forms until he’s happy with the result. Pointing out the two mismatched loops that form each door mirror on Izukawa’s Celica, he elaborates: “These mirrors are quite abstract, but if I’d just had one loop, they would have looked two-dimensional. A second loop gives more form and depth.”
The Komatsu excavator sculpture weighs just a fraction of the real thing but still tips the scales at 3,300 pounds.
Radcliffe gets some help when it comes to the megasculptures—for example, fabrication of the 100 identical loops that make up the JCB’s tracks were outsourced after he created the master—but otherwise he does all the work himself, including the welding (TIG on the small sculptures, MIG on the rest). It’s often frustrating work—when heat from the welding gun distorts the metal, for instance—but once things start to take shape, it becomes a joy.
“The trick is to make them look simple, but they’re actually quite tricky. Not everyone has the patience,” he acknowledges, “but it’s actually really good fun. After about two months, once I’ve done all the hard work, I can experiment with how to do stuff. Someone might come from an engineer’s point of view and do it differently, but I can go a bit free-form and be more playful.”
The pink Celica and a white BMW E30 M3 Evolution (also 1:6 scale) took almost as long to build as the 10 to 16 weeks required to make a full-scale car, partly due to their intricacy. “You’ve got more steel to mess around with on the big ones, so you can make more mistakes,” Radcliffe says. “The small ones are really fiddly, and it’s difficult to get the welder in.”
The magic is all in the bending of the steel rod.
And the smaller the sculpture, the more the thickness of the paint has an effect on the visual gravity of the finished article. Radcliffe usually spray-paints, but the Celica and M3 were powder coated due to their diminutive size, which bulked them up and produced a tougher look versus the naked wireframe.
So, to retain more detail, Radcliffe kept the 0.12-inch rod but moved up to 1:5 scale for his subsequent project, a Lancia Delta Integrale Evoluzione. Unpainted, without wheels, and up on temporary stilts, it is not yet finished but is utterly mesmerizing in its accuracy, from hood bulges and box wheel arches to the tiny Lancia shield on the nose and the distinctive rear-wing mounts. A rare concession to technology is the MDF jig Radcliffe had made by a CNC router to help form the Lancia’s intricate, 18-spoke wheels, but he can be forgiven for that; they’re shrunk from 15 inches across to just 3.
The intricacy of Radcliffe’s work is even more apparent in his 1:6-scale sculptures, which have to capture the key details with even less steel.
Examining the Delta, my instinct is to click and drag a mouse to rotate the digital-looking form in front of me. The fact you can actually move around it, or even pick it up and hold it in your hand, is a genuine wonder.
In contrast, the towering JCB and Komatsu are edificial—at 3,300 pounds, the latter weighs 10 times as much as a full-scale car wireframe—and required more of an engineering-focused approach to accommodate their trusses and overhangs. He says these creations, which are built piece by piece in component form, are more about structural integrity than playfulness and line—yet he still likens them to big Lego bricks.
You’ve probably gathered that Radcliffe’s clients are eclectic to say the least, with corporate patrons such as Toyota, Jaguar Land Rover, and Nike, the latter for whom he built a giant wireframe Air Max shoe. Other projects include a Citroën DS-style hovercar from the “Judge Dredd” comics that was commissioned by a toy shop in London, and in 2014 Heathrow Airport bought one of his orange London taxis to make a vivid centerpiece for the departure lounge in Terminal 2. As is the art world’s way, pricing is fluid, but Heathrow paid around $130,000. That early Subaru P1 went to a collector for $30,000, while the Countach that Radcliffe sold privately in 2008 went under RM Sotheby’s hammer six years later for $116,500.
Never one to shy away from a challenge, Radcliffe is working on a 1:5-scale sculpture of the dauntingly complex Lancia Delta Integrale Evoluzione.
But you get the distinct feeling fiscal concerns are more a means than an end—a way for Radcliffe to keep doing the work he loves. He’s chomping at the bit to finish the little Integrale (it’s going to be painted brilliant white), while the 1:1 Ferrari F40 is next and will grace the Classic Car Club Manhattan’s cavernous riverside clubhouse in Hell’s Kitchen. I ask what else he’d choose to build, which prompts a flurry of glossy car book pages and various printouts. He admired the “democratic” attainability of the Impreza, and the people’s champion theme continues with the Peugeot 205 GTI, but Porsche features, too, as a Kremer Racing 935 and modified 911 from Japanese outfit RWB are also on the wish list. And then there’s the Ferrari 288 GTO: “Oh my God, those wheel arches! Absolutely filthy!”
And with those words, Radcliffe explains why his work gets gearheads frothing at the brain: He is one, too.
Source: http://chicagoautohaus.com/english-artist-benedict-radcliffe-wired-with-passion/
from Chicago Today https://chicagocarspot.wordpress.com/2017/12/16/english-artist-benedict-radcliffe-wired-with-passion/
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