Spanish photographer and neuroscientist Al Mefer has captured some out-of-this-world images of Benidorm’s Martian structures. The photographs of the buildings were post-processed and laid on a coloured background to create the illusion they are floating, or part of an alien landscape.
In recent years, Benidorm’s brutal hotel structures have come under appreciation from architecture critics and designers alike, as the skyscrapers built quickly to match the rise of package holidays throughout the Seventies and Eighties are now being enjoyed for their strange form. The city currently has the most high-rise structures per capita in the world.
Al Mefer focused on the bubble balconies and pastel colours that set the hotels apart from other tourist builds along the Costa del Sol. Straight columns and bright orange walls make the architecture look more Blade Runner than Alicante.
Bonnie Cee is a talented photographer and retoucher from Brisbane who currently lives and works in Sydney, Australia. Bonnie focuses on portraiture, she shoots gorgeous fashion, beauty and editorial photography. With subtle references to screen sirens and historical interludes, Cee’s work is intensely feminine and refined.
Her personal retouching signature envelops her work to create artistry in the image and a subject that is familiar and comforting. Bonnie cherishes the art of photography not for its highly potent infamy but for its artistic value and credentials.
“My freelance work has taken me all the way from Australia to Los Angeles, and has been featured internationally both in print and digitally. I’ve been lucky enough to work with world-class models, makeup artists, and stylists, and I’m always looking toward the next project, the next opportunity to create something beautiful,” she says.
Justin Leduc is a multi-talented photographer, web developper and digital artist currently based in Toronto, Canada. Justin received his Bachelor of Arts in Communications (Interactive Media) from Université du Québec à Montréal (UQAM). He shoots fantastic urban, abandoned and dystopian urban landscapes.
Recently in Shenzhen, China, Thomas Canto installed a reflective sculpture on top of a private building entitled Gravitational Inertia Infinity. The piece is the first in a new series of works that the French artist plans to explore in the coming months and continues his play with depth, geometry and illusion. Mirroring some of the star-like installations he has created indoors, Canto is taking his work full circle by heading outdoors back to the urban environment, hoping to start a dialogue between nature, human and architecture.
Fra Vincentius a Fundis (Italian, active about 1560s), and Fra Vincentius a Fundis (Italian, active about 1560s) ‘Missal of Bishop Antonio Scarampi’, 1567, Tempera and gold leaf on parchment bound between pasteboard covered with original brown morocco Leaf: 41 × 27 cm (16 1/8 × 10 5/8 in.) The J. Paul Getty Museum, Los Angeles
In an increasingly paperless world, it’s easy to forget books were once precious objects that were works of art unto themselves. Long before the industrial printing press, hand-crafted manuscripts were painstakingly precise pieces of art that catered to an elite society where only a precious few could read. Now, the Getty Museum reminds us of the incredible process that went into creating these medieval illuminated manuscripts.
Handwritten on parchment made from animal skins and lovingly illuminated with precious materials like gold leaf and ultramarine, the slow and laborious process reminds us of how our mechanized world has certainly changed the value of today’s goods. From the artisan who created the parchment paper to the scribe who used a quill to expertly transcribe words on the page to the illuminators that gave color to the manuscript, it was a true group effort.
Equally fascinating is the look at how natural materials were used to craft the manuscripts, beginning with animal skins, but also including the gallnuts of oak trees to create dark inks. Watching the precise handiwork of the scribes and illuminators, who strived for perfection, it’s easy to have a newfound appreciation for these medieval manuscripts. And thanks to digitization projects, we’re also able to examine expert works like The Aberdeen Bestiaryup close.
It’s easy to see why these one-of-a-kind objects were the highly prized possessions of kings, cardinals, dukes, and bishops from the Middle Ages well into the Renaissance period. For these patrons, they were more than just books, but rather objects that demonstrated their wealth and worldliness. Indeed, as the founder of the Getty’s Manuscript Collection, Thomas Kren, explains, “People often don’t realize that the greatest artists, the finest artists, of the Middle Ages and the Renaissance illuminated manuscripts.”
Unknown ‘Initial B: David Playing the Harp for Saul and David and Goliath’, mid-1200s, Tempera colors, gold leaf, and ink on parchment Leaf: 23.5 × 16.5 cm (9 1/4 × 6 1/2 in.) The J. Paul Getty Museum, Los Angeles
The Getty Museum takes us through the process of creating illuminated manuscripts, which take root in the 12th century.
In this video, we learn more about the importance of illuminated manuscripts in the Middle Ages.