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Justification For Playing with Your Food

London-based photographer Carl Warner is definitely up to something different. These photographs selected from his work Foodscapes are assemled entirely out of food! That’s right – all of the pictures below are actually created out of fresh food. Warner uses a wide variety of different ingredients, such as deli meats, fresh fish, fruit, vegetables, candy, and bread, to build incredibly detailed worlds right out of reality of dreams. Warner’s food art includes sailing ships on sunny days or battling stormy seas, the Great Wall of China, forests and mountains, all the while demonstrating his amazing eye for even the smallest details.

Warner has been working in advertising and shooting still-lifes for over 25 years, and has been developing Foodscapes for the past 10 years. His expertise for shooting table-top pictures and usage of artificial light has undoubtedly aided in making the food pictures look so realistic. He so meticulous that on first glance you can’t tell that the miniature food models aren’t actually landscape photographs.

The Foodscapes received international recognition back in 2008, and Carl has been coming up with new pieces ever since. Besides food, this artist also uses other medium to imitate landscapes. His sensual Bodyscapes project featured intricately tangled human bodies, which make you tilt your head a little with each picture.  Go here to view his extensive portfolio at his website:

Richter and Calder: The Art of Abstraction and Motion

Great article about Richter and Calder subjecting motion to make art.

Unframed The LACMA Blog

In the mid-1940s, the painter and filmmaker Hans Richter and sculptor Alexander Calder joined forces on a remarkable film, Dreams That Money Can Buy, which featured Calder’s famous Cirque Calder, a mirthful work of pure fantasy made up of delicate wire-frame miniature figures set into motion by Calder himself. This film, on view in the exhibitionHans Richter: Encounters, shows how fantasy and motion were two characteristics deeply shared by both artists. In his book, Encounters, Richter said of Calder: “The least he requires of sculptures is that they should move. And he has not been disappointed, nor have we. The earth, too, was not allowed to move until Copernicus and Galileo started it moving. . . . The twentieth century does not stand still, ‘it moves.’ ”

Calder and Richter also shared a deep interest in abstraction, as is seen in both Hans Richter: Encounters

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