what do you *mean* april is almost over
Plein Airpril days 25-27
(ref: mapcrunch, my own photo, maprcrunch)
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quad walk practice with a horse(?)
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SYLVIA BALDEVA / “GALLOPING HORSE” / 2011
[oil on canvas | 50 x 50 cm.]
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© Andrey Godyaykin
Site | Fine Art America | Telegram | Twitter
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Bea Fremderman, "Weeds Compared to Flowers," 2023,
Along the shore of Dead Horse Bay in Brooklyn, New York, the tides slowly expose the contents of closed landfills. Depression-era glass, soles of shoes, and conglomerations of inorganic and organic materials litter the coastal zone.
Upon her first visit to Dead Horse Bay, Fremderman described the site as the most apocalyptic landscape she had ever experienced. Once a hub for rendering dead horses and for industrial and urban waste processing, storage, and incineration, the area became renowned for its putrefaction. Today, sections are closed due to chemical pollutants and radioactive contamination.
Fremderman imagines the personas of those who may have used the detritus she collects. After a deep cleaning process, she assembles her gatherings in a technique like that used to make stained-glass windows.
Lit from within, the amoeba-like forms guide visitors through the gallery. Upon closer inspection stems of goblets, electronic chips, and pieces of dinnerware can be identified within the assemblages. The textures, colors, and shapes emanating from the sculptures result in an immersive installation.
The work hopes to offer a link to place — in this case, a landscape where the human footprint contorts and is contorted by the environment. Through the re-presentation and re-purposing of waste, Weeds Compared to Flowers intends to visualize human interconnection with disposable objects, the Earth, and an unknowable future.
Installation view at the John Michael Kohler Arts Center.
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i think in general when it comes to worldbuilding, you should know how the real world works, not because you have to follow the real world slavishly, but because that way you can break the rules in more interesting ways.
in LOTR, mirkwood is notoriously in the middle of what should probably be a big rain shadow--there could be a really interesting reason for that, but the actual reason is that tolkien didn’t know or care much about climate or geology or astronomy or any of the hard sciences for that matter. as a result there is no elaboration of this forest existing there, or consequences for the world or stories that take place there; it’s just a “meh, this’ll do.”
personally i think that’s kind of boring. even saying explicitly “this is explicitly A Mystery,” is a more interesting violation of expectations than “i don’t know what a rain shadow is, my story just needed a big forest, and i thought i’d put it immediately east of a mountain range tall enough to alter weather patterns.”
the actual earth is big and old and complex enough that you can find plenty of specific reasons to violate general rules of thumb like “mountains tend to create big rain shadows” and “equatorial regions tend to be full of rainforests,” and even if you don’t develop the world in sufficient resolution to know exactly why a particular microclimate or regional variation occurs somewhere, at least asking yourself that question is a useful exercise!
this goes for more than climate, obviously--the same is true for language, economics, politics, warfare, and any other field of human endeavor or experience you care to name. if you’re too content to rest on “well, it’s fantasy/science fiction/mythopoeia, it doesn’t need to be realistic,” i think you’ll end up with endless lonely cities, cookie-cutter fantasy kingdoms, ISO fantasy races, and overall blandness. knowing the rules, even if it’s just to violate them more creatively, will help you understand just how big and complicated and diverse the real world is--equally or more so than any work of fiction--and help you to ask questions about your world that might never occur to you otherwise.
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