I've made it my desktop background because I want to see it all the time! Would love to know how you made it, especially as those shimmery patterns, but respect you might not want to share / cbf
Robert Lorayn@ Thursday, February 23rd 2012, 10:07 PM
My glasses are so strong that they regularly create chromatic aberrations so whenever I see small drop shadows I have to move my head around like an owl to see if they're real or not. I'm glad yours are real.
Beautiful Sunset-You get a similar view looking towards the Sange de Christo Mountains from Mt. Capulin,although I'm sure there are plenty of places to get that lil' glimpse of HEAVEN!
God Sabrina your drawings are absolutely ridiculous. I love seeing them.
paul@ Thursday, December 1st 2011, 9:43 AM
Yea,i realy like your shadow techniques!Depths are nice,and the way you lead the eye is realy pleasing! It adds an air of 'mystique' to your drawings,and your gradients are realy what I like,especialy when you go down to 1%,with what looks like a stochastic feel?NICE!!! I can imagine what you would do with an actual airbrush?!
Nice contrast in techniques between you and Sarah! You ladies have skills,and these two side by side is realy eye pleasing, and must of taken you both some time? NICE!!!
A lovely second life getaway. Yahoo too on the airbrush. The orange framed Judd print is tops.
Has a soulful view back there. Bruce
paul@ Wednesday, November 2nd 2011, 1:54 PM
This is a sweet image! HOWEVER,the only thing missing is a nice plant of some sort? Be it palm or hanging,it would look nice next to the orange frame print! But I'm a plant lover,so please don't take that as criticism!Haha!
Sabrina Ratte@ Wednesday, November 2nd 2011, 4:48 PM
Hi Paul, I would have loved drawing a plant, but my drawing skills are still very basic, I only feel comfortable with straight lines! Maybe in a couple months I'll be able to draw curves for the leaves - or find a way to make a square plants :)
IDK,you have a soft touch with the airbrush! Does'nt seem you would have issues with your skware plants? haha! Even a square planter w/straight line bamboo would look good,w maybe a spot to cast shadow play, not that you need it! Very Inviting nonetheless!!!
paul@ Thursday, November 3rd 2011, 3:17 AM
Personaly,I favor pencil n chalk, and to get that fade effect is a challenge,which seems easier to do with oils when blending!?
Sabrina Ratte@ Sunday, September 25th 2011, 11:54 AM
:)
Aaron Harbour
- [Homepage]@ Tuesday, December 13th 2011, 6:31 PM
Dear Sabrina,
My name is Aaron Harbour. My partner, Jackie Im and myself are curating an online exhibition titled Two Point Oh for the website Little Paper Planes (http://www.littlepaperplanes.com/). The exhibition will feature work that exists online, accessible via platforms that are sited in the everyday i.e. Google, YouTube, Vimeo, Wikipedia, Facebook and blogs (a full description of the exhibition is below).
We are very interested in featuring your work in the exhibition. We are interested in it's ready availability online and that the works have an existence within well-traveled online circuits. We invite and seek your permission to feature your work in Two Point Oh, yet as a courtesy, I will inform you that we will likely include the work due to it's open viewing nature online.
Feel free to contact us directly via email (Jackie Im: jackieim09@gmail.com or Aaron Harbour: mrharbour@gmail.com).
Thank you for your time.
Best,
Aaron Harbour
The internet has been a site for art since before the now assumed ubiquity of home computing. In the 1990s and early 2000s, artists produced net art, often through the means of creating a web page upon which a work or a group of works is sited. While these artists were indeed venturing into new territory, their works were and continue to be challenged with specific limitations how does one present and maintain a URL? Should the work become archived, does any interactive element then become null and void? Through a combination of institutional exhibition and acquisition, as well as what could be called a short-sightedness of encompassing ubiquity of the internet, many early net art sit as islands in a vast world of websites rarely visited, stationary and un-linked to.
Post-internet art, a phrase coined by artist and curator Marissa Olson and developed by writer Gene McHugh, refers to works in which the internet is not so much a novelty, but rather a banality a site in which we traverse everyday. The artists in Two Point Oh situate and make use of internet technology that is sited in the everyday Google Image Search, YouTube, Wikipedia, Vimeo and blogs. These works are in plain sight and/or use tools that are readily accessible, and that act comes with risk: loss of ownership and control of distribution, the mundane limitations of the host websites interface, commodification of their page views, and competition in the form of every other entry on such a space. Yet these works also are rewarded the opportunity to address an audience on their own terms, both temporally and spatially.
Aaron Harbour
- [Homepage]@ Tuesday, December 13th 2011, 6:31 PM
Dear Sabrina,
My name is Aaron Harbour. My partner, Jackie Im and myself are curating an online exhibition titled Two Point Oh for the website Little Paper Planes (http://www.littlepaperplanes.com/). The exhibition will feature work that exists online, accessible via platforms that are sited in the everyday i.e. Google, YouTube, Vimeo, Wikipedia, Facebook and blogs (a full description of the exhibition is below).
We are very interested in featuring your work in the exhibition. We are interested in it's ready availability online and that the works have an existence within well-traveled online circuits. We invite and seek your permission to feature your work in Two Point Oh, yet as a courtesy, I will inform you that we will likely include the work due to it's open viewing nature online.
Feel free to contact us directly via email (Jackie Im: jackieim09@gmail.com or Aaron Harbour: mrharbour@gmail.com).
Thank you for your time.
Best,
Aaron Harbour
The internet has been a site for art since before the now assumed ubiquity of home computing. In the 1990s and early 2000s, artists produced net art, often through the means of creating a web page upon which a work or a group of works is sited. While these artists were indeed venturing into new territory, their works were and continue to be challenged with specific limitations how does one present and maintain a URL? Should the work become archived, does any interactive element then become null and void? Through a combination of institutional exhibition and acquisition, as well as what could be called a short-sightedness of encompassing ubiquity of the internet, many early net art sit as islands in a vast world of websites rarely visited, stationary and un-linked to.
Post-internet art, a phrase coined by artist and curator Marissa Olson and developed by writer Gene McHugh, refers to works in which the internet is not so much a novelty, but rather a banality a site in which we traverse everyday. The artists in Two Point Oh situate and make use of internet technology that is sited in the everyday Google Image Search, YouTube, Wikipedia, Vimeo and blogs. These works are in plain sight and/or use tools that are readily accessible, and that act comes with risk: loss of ownership and control of distribution, the mundane limitations of the host websites interface, commodification of their page views, and competition in the form of every other entry on such a space. Yet these works also are rewarded the opportunity to address an audience on their own terms, both temporally and spatially.
Aaron Harbour
- [Homepage]@ Tuesday, December 13th 2011, 6:32 PM
Dear Sabrina,
My name is Aaron Harbour. My partner, Jackie Im and myself are curating an online exhibition titled Two Point Oh for the website Little Paper Planes (http://www.littlepaperplanes.com/). The exhibition will feature work that exists online, accessible via platforms that are sited in the everyday i.e. Google, YouTube, Vimeo, Wikipedia, Facebook and blogs (a full description of the exhibition is below).
We are very interested in featuring your work in the exhibition. We are interested in it's ready availability online and that the works have an existence within well-traveled online circuits. We invite and seek your permission to feature your work in Two Point Oh, yet as a courtesy, I will inform you that we will likely include the work due to it's open viewing nature online.
Feel free to contact us directly via email (Jackie Im: jackieim09@gmail.com or Aaron Harbour: mrharbour@gmail.com).
Thank you for your time.
Best,
Aaron Harbour
The internet has been a site for art since before the now assumed ubiquity of home computing. In the 1990s and early 2000s, artists produced net art, often through the means of creating a web page upon which a work or a group of works is sited. While these artists were indeed venturing into new territory, their works were and continue to be challenged with specific limitations how does one present and maintain a URL? Should the work become archived, does any interactive element then become null and void? Through a combination of institutional exhibition and acquisition, as well as what could be called a short-sightedness of encompassing ubiquity of the internet, many early net art sit as islands in a vast world of websites rarely visited, stationary and un-linked to.
Post-internet art, a phrase coined by artist and curator Marissa Olson and developed by writer Gene McHugh, refers to works in which the internet is not so much a novelty, but rather a banality a site in which we traverse everyday. The artists in Two Point Oh situate and make use of internet technology that is sited in the everyday Google Image Search, YouTube, Wikipedia, Vimeo and blogs. These works are in plain sight and/or use tools that are readily accessible, and that act comes with risk: loss of ownership and control of distribution, the mundane limitations of the host websites interface, commodification of their page views, and competition in the form of every other entry on such a space. Yet these works also are rewarded the opportunity to address an audience on their own terms, both temporally and spatially.
Aaron Harbour
- [Homepage]@ Tuesday, December 13th 2011, 6:33 PM
Dear Sabrina,
My name is Aaron Harbour. My partner, Jackie Im and myself are curating an online exhibition titled Two Point Oh for the website Little Paper Planes (http://www.littlepaperplanes.com/). The exhibition will feature work that exists online, accessible via platforms that are sited in the everyday i.e. Google, YouTube, Vimeo, Wikipedia, Facebook and blogs (a full description of the exhibition is below).
We are very interested in featuring your work in the exhibition. We are interested in it's ready availability online and that the works have an existence within well-traveled online circuits. We invite and seek your permission to feature your work in Two Point Oh, yet as a courtesy, I will inform you that we will likely include the work due to it's open viewing nature online.
Feel free to contact us directly via email (Jackie Im: jackieim09@gmail.com or Aaron Harbour: mrharbour@gmail.com).
Thank you for your time.
Best,
Aaron Harbour
The internet has been a site for art since before the now assumed ubiquity of home computing. In the 1990s and early 2000s, artists produced net art, often through the means of creating a web page upon which a work or a group of works is sited. While these artists were indeed venturing into new territory, their works were and continue to be challenged with specific limitations how does one present and maintain a URL? Should the work become archived, does any interactive element then become null and void? Through a combination of institutional exhibition and acquisition, as well as what could be called a short-sightedness of encompassing ubiquity of the internet, many early net art sit as islands in a vast world of websites rarely visited, stationary and un-linked to.
Post-internet art, a phrase coined by artist and curator Marissa Olson and developed by writer Gene McHugh, refers to works in which the internet is not so much a novelty, but rather a banality a site in which we traverse everyday. The artists in Two Point Oh situate and make use of internet technology that is sited in the everyday Google Image Search, YouTube, Wikipedia, Vimeo and blogs. These works are in plain sight and/or use tools that are readily accessible, and that act comes with risk: loss of ownership and control of distribution, the mundane limitations of the host websites interface, commodification of their page views, and competition in the form of every other entry on such a space. Yet these works also are rewarded the opportunity to address an audience on their own terms, both temporally and spatially.
