From top: Abbey Theatre, Dublin 1; Merrion Street Upper, Dublin 2;
Spotted on Tuesday.
Paul Flynn writes:
Two men with a sponge on a stick verses two men on a 26-tonne articulated lorry. You should see what they can see…
Surviving elements of Ottoman era Turkish architecture, variously referred to as “kuş köşkü” (bird pavilions), “güvercinlik” (dovecots) and “serçe saray” (sparrow palaces).
These ornate miniature structures attached to the walls of significant buildings were designed to house birds and keep their droppings from corroding the walls. They were also believed to grant good fortune to those that built them
Of this sinuous, extrapolation of the architecture of Osaka in japan, artist/filmmaker collaborative AUJIK sez:
Spatial Bodies depicts the urban landscape and architectural bodies as an autonomous living and self replicating organism. Domesticated and cultivated only by its own nature. A vast concrete vegetation, oscillating between order and chaos.
Music composed by Daisuke Tanabe.
Of his impressive work, which he describes as ‘sketching with a bandsaw’, McNabb sez:
I compare hyperrealistic painting to fine woodworking. Both are slow, tedious, detail oriented process that require great care and consideration through every stage of making. In contrast, I compare my style of rapid bandsaw mark making to the fast paced nature of spray can art. It’s my attempt at “urban woodworking”.
Australian artist Sean Edward Whelan left Oz to teach English in Joetsu, Niigata, Japan where he also works as an illustrator, creating (among other things) these beautiful pencil drawings of anthropomorphised traditional Japanese buildings, bridges and lanterns.
‘Rural City’ by German street artist EVOL: a feature of this year’s MS Dockville Festival. An ‘urban X’ excavated over eight days in a field outside Hamburg, the final hyper-real finish was achieved with stencils, but you’d never guess.
Check out his Dresden series for flip’s sake. The guy’s a genius.