Helmut Lang. Resort 2010. NYC.


Wayne White. Artist. LA.

Acrylic on offset lithograph.

Rag & Bone. Resort 2010. NYC.

see previous post on Rag&Bone here


Luc Deleu. Architect. Artist. Belgium.

Deleu is an Orbanist: "Orbanism is the metaphysical and material arrangement of the world for the commonwealth in the public intrest (...) it is as environment-friendly as possible. Because we have to organize construction in a more and more decreasing natural space, ecology, in fact a global system, must always be the main structural principle of the ongoing orbanization or the conquering of nature by man. The more the globalization is praised, the more a general view of our planet becomes not only obvious but actually indispensable. We are evolving – at least we hope so – towards a world with global people and global institutions, subject to global rights and obligations and bearing global responsibilities." Luc Deleu.

Snorre Ytterstad. Oslo.


Rob Matthews. Graphic Designer. Artist. UK.

Wikipedia. 5000 pages, fully printed.

Light Pollution World Map.

Crayola color-in-box.

If Drawings Were Photographs. illustrations by Tom Edwards.

I Miss Trevor Burks.

The Sun's Burial. 1960. Nagisa Oshima.

The Sun's Burial is a portrait of Japan's postwar generation. The constant presence of the sun visually represents the idealized image of old Japan - the land of the rising sun- like the national flag-as seen in the movie's poster.

Alex Hamilton. Aussie in London.

Pastel rubbed into scratched paper, cut out lettering on watercolour paper.

Pen, charcoal pencil, pastel, watercolour, airbrush on watercolour paper.

Pen ink, charcoal pencil, pastel, watercolour, airbrush on watercolour paper.

Gouache, pastel, charcoal pencil, ink, pit pen, airbrush, photocopy, on watercolour paper.


Thomas Kilpper. Artist. London.

Woodcut on fabric.

Woodcut on paper.

The Ring series was a site-specific project created in Orbit House, a series of office building in the London's Southwark. Orbit House was abandoned and scheduled for demolition when Kilpper gained access to the building in 1999. He carved a giant woodcut into the mahogany covering the 10th floor. The woodcut depicted a boxing ring surrounded by an audience of characters whose names were cut (with chisels+chainsaw) around the edge of the image. Kippler used photographs+etchings to create the portraits. He then made this series of prints on new and found materials: old curtains left in the building: advertising hoarding paper and sheets of purple UV polythene film.
The subjects/events of the woodcuts are all related to the location+to Kippler: In the early 1900s it was one of London’s earliest cinemas, it then became a boxing venue, The Ring, and doubled as a soup kitchen, music hall and theatre, hosting productions of Shakespeare. It was also used by Alfred Hitchcock as the set for his silent movie The Ring in 1926.
-Elizabeth Manchester. September 2003. Tate modern.