Darren Moore’s Long Exposure Black and Whites


A self taught photographer working full-time to hone his craft, Darren Moore engages in long exposure photography.  Unlike most of us snap-happy amateurs taking quick images with iphones and tablets, Moore is not to be rushed. The LE technique involves planning for ideal conditions, composition and time. He has shone his work internationally and has garnered multiple awards for very clean, black and white images.  Included are images from Moore’s Monochrome series.

Primarily working in Black & White I specialise in a technique called ‘Daytime Long Exposure’ using Neutral Density (ND) filters attached to the lens. ND filters cut out the amount of light coming into the lens allowing the shutter to be left open for much longer than normal, capturing movement with an ethereal aesthetic. My images range from 30 second exposures to 15+ minutes.

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Dan Roosegaarde

Studio Roosegaarde’s DUNE

Enhancing social interaction in public space since 2007, Daan Roosegaarde’s DUNE is a permanent interactive landscape of light in Rotterdam using hundreds of LEDs in an urban setting. DUNE, the modular system, is also commissioned in several other spaces internationally utilizing varying levels of height and number.

DUNE is the public interactive landscape that interacts with human behavior. This hybrid of nature and technology is composed of large amounts of fibers that brighten according to the sounds and motion of passing visitors.

Dune in Hong Kong by Daan Roosegaarde

Daan Roosegaarde

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Joshua Harker in the 3rd Dimension

Sculptor, designer and digital sculpture extraordinaire, Joshua Harker is a Chicago-based artist producing technical, sophisticated, industrial, complex and aesthetically intriguing work by starting with a detailed drawing and ending with a 3D printed piece.  Harker is a former special effects designer and toy maker with a fascinating start.  A Bash Contemporary biography on Harker includes a blurb on his early days:

Declared a prodigy as a young child, he assumed the identity of an artist from his earliest pursuits.  His parents were both artists connected to Grant Wood through his colleague & former student John Bloom & his wife Isabel.  Joshua’s young life included post 60′s off-grid communal living, Hell’s Angels babysitters, complete artistic immersion, and family tragedy. Joshua attended the Kansas City Art Institute and St. Ambrose University as well as later studying anatomy & forensic arts. Joshua’s fascination with digital sculpture and 3 dimensional printing technology began as a commercial sculptor and designer in the toy, invention and design, special effects, and product development industries. In the late 90′s he founded a boutique design and development firm servicing some of the largest global properties and corporations. He served as its president & CEO through 2008 after which he left his post to return to his art.

Harker’s work has appeared in nearly every major US-based design publication.  Projects, titled, Crania Anatomica Filigre and Anatomica di Revolutis, were well-funded using his own marketing prowess.

My work is at its essence a journey of exploration & discovery… an attempt to peer into the unknown & share a glimpse of what’s out (& in) there;  to understand who we are & where we come from & find clues about how form & physical reality are perceived. A product of my time, I use technology not only because of its utter necessity in the forms I make but also that I feel absolutely compelled to make art with it, to humanize the inhuman as we’ve done with stone, clay, metal, & wood… digital data as medium, computer as chisel, & 3d printer as forge.

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McNabb’s City

American craftsman, James McNabb, works with humble scrap wood to create a treat for the viewer.  Creating city skylines with as much detail as a sketch of Manhattan, the result is a series of fantastic and exciting pieces called The City Series.

The City Series is a collection of wood sculptures that represent a woodworker’s journey from the suburbs to the city. Each piece depicts the outsider’s perspective of the urban landscape. Made entirely of scrap wood, this work is an interpretation of making something out of nothing. Each piece is cut intuitively on a band saw. The result is a collection of architectural forms, each distinctly different from the next.

McNabb & Co.

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City Table2 City Table1City Wheel3 City Wheel2 City Wheel1City Skyline3 City Skyline2City Skyline1City Sphere1 City Sphere2

Harris Tables sq

Franklin and Harris by Tronk

Walnut TableSuited for any dwelling but most befitting the modern space, the Franklin Shelf and Harris Table are design pieces doubling as furniture. Between utilizing local walnut, cherry & maple wood in a smooth, rich finish, and accomplishing distinct design, these handmade pieces occupy the least amount of space while allowing the greatest amount of storage.

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Created by two friends from Ohio, the Tronk style reflects a timeless American design aesthetic. Clean lines, sleek styling and strong features create pieces of furniture that will last years, without ever going out of style.

Maple Table with pic

You’ll find their most recent collections at Tronk Design.



“Design can change the world” is design firm, Shift’s belief, and as they design contemporary Latin-American products we welcome the splendid modernism of their pieces.

The Viva series of stools and tables is crafted from wood and leather.  The Viva Desk is made from a fairly new material called OSB or Oriented Strand Board. OSB enhances the sustainability of Shift’s product, as the material is made from small trees that require less growing time so it’s deemed environmentally friendly. Not only is it sustainable but it’s said to be a very durable and adaptable wood.

This is invitingly solid, down to earth work from the design firm out of Monterrey, Mexico. Enjoy Viva by SHIFT.


Viva is the beginning of a line of furniture pieces and objects that seek to present our vision of Mexican and Latin American design on a global scale.  Viva merges artistry and craftsmanship with modern technology to create furniture pieces with a high human factor, which we believe translates into a more human and emotional object, a soul.

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The Viva desk materializes our view of a complete design where each detail and element holds an aesthetic but also functional purpose.

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Artist Interview – Seren Moran

Homes” is a series of Seren Moran’s newest body of work.  These abstract images of color and line painted on edged-frayed canvas are architectural renderings reimagined… beautiful and poetic.  Like reading a book for inspiration – they’ll spur your creative streak.  To see these and other pieces in person you’ll find listed exhibitions here.

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What was your motivation for this latest series?

 After living abroad for several years and away from home for 6, I returned home last winter and had a heck of a transition coming back.  It was a really strange time for me to adjust and I was fascinated by how one can experience a culture shock returning to what was once so normal and comfortable.  So I began to explore this, this nostalgia and transition and the idea of home and what that is. And how “home” is something we attribute to a structure, to a house, yet it’s really so much more than that and so much more difficult to explain or depict.  So from that, I started looking into these structures/homes of my childhood friends and depicting them in the abstracted ways I see them.
Though abstract, lots of structure through bold lines – gives a great deal of depth. Did you set out to be so defined through line?
I think I naturally see shapes and lines and figures in the world that perhaps others don’t see.  I really see intensity in both the lines that create the shapes and the lack there of.  And I like to reflect that in my work, by having loose areas where the lines aren’t defined, and the paint extends past what is expected, but then also having really defined shapes / lines that play in that same space.
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What materials were used?
All of these paintings are actually acrylic and oil on canvas.  Acrylic first then oil on top.
How did you utilize what looks like canvas slightly unraveling?
I wanted to add a literal depth, something tangible, something that literally comes off the canvas but something that wouldn’t feel inconsistent with the rest of it.  So each painting has both extra pieces of canvas glued on top as well as the strings ripped from canvas.  And I liked that it was rough edges, I didn’t want there to be boarders.  I wanted them to feel like it was unclear where it ended, because I think with home, there really aren’t clear boundaries.
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How many pieces are in this series?
I painted the homes of 6 of my childhood friends, all of whom I’m friends with today.  Each person has a color, and the titles reflect their last names.  There are currently 18, 3 paintings of each home, 3 of each color.  But I’m considering continuing this series a bit further.
What’s your method for starting a series and how do you approach it?
I think every series is different.  This series actually started out completely differently then it ended up.  I started working on these super large paintings about 8ft long, and then was working on these small ones on the side as kind of a procrastination.  But I slowly realized that not having them stretched and just having the loose canvas pinned to the wall allowed for me to really be more free and intuitive with them so I started to hone in on that and began to love these even more than the large ones.
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Memories transcend experiences.

Memories of friendship, laughter and pure imagination.
Memories of innocence, of youth, and of childhood.

Memories of home.

How to reconcile adulthood in a childhood setting.  Finding yourself facing the nostalgia of something that perhaps never existed, never existed in the way it truly was. Frightened that what was gained while away, will be lost to just a memory while balancing this with the seductive familiarity of home.

This body of work explores the homes of childhood friends, and the structures containing those memories.  The abstracted images of these structures show the internal conflict of never quite feeling settled, and never quite at home.