:: urbansquares art ::

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:: language of urban squares ::

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:: photo based art 1982 - 2006 ::

:: art before 2002 ::

.................language of urban squares

:: created by good omen designing :: last time updated on 06-03-2009 ::

photo: st. jans vliet, antwerpen, belgium, 2005
quote - message: “the city has its own feelings, in the same way as a complex organism”, by b. bogdanovic, urbs & logos, beograd, 1972

photo: richmond st. alley, toronto, canada, 2006
quote - message: "what would be the accumulative impact of similar interventions on the urban system over time?", [author unknown - internet 2006]

photo: rossio (praca dom pedro IV), lisboa, portugal, 2002
quote - message: “the city is nothing if you do not interpret it with passion” by nigel coats,
guide to ecstasity, london, 2004

photo: dundas square, toronto, canada, 2005;
quote - message: “the artist permanently faces the decision of whether to advance against the public as a warlord of innovation”, by iconoclash exhibition papers, karlsruhe, 2002.

photo: kopitareva gradina, beograd, 2005
quote - message: in the cities choked with advertising urban art provides important forum for social commentary and free expression”, by t. manco, street logos, london, 2004

photo: grote markt, gouda , nederland, 2005
quote - message: “the city needs to be touched to bring out the flavor” by nigel coats, guide to ecstasity, london, 2004

photo: elms court, london, england, 2005
quote - message: "creativity in the city is a key pleasure" by nigel coats, guide to ecstasity, london, 2004

series of large format digital art prints. there is one very important element to these photographs. they are taken in actual spaces but at the same time they are not entirely realistic. 12 different photos taken from the same spot in a 360˚ circle and stiched together provide a surreal impression (visible when printed) with multiple vanishing points and a curved perspective.

photo: king & bay street, toronto, 2007
quote - message: "active search for and celebration of, chance and coincidence" by wilfried hou je bek, socialfiction.org, 2007

when stiched they are converted to black and white image to help visually separate it from the message, which is in colour and it was added digitaly. for that same reason all other visual communication is eliminated [blurred] from the image.

chromira archival art prints, 92" x 18.4", each 1/1 + one author's print, toronto, 2006 - 2008