Art From The Swamp

This is an art book which highlights the possibility of using natural, organic materials as art supplies and inspiration.

Chloe Sells produces vivid interpretations of rural Africa using innovative photographic techniques.

Daylight in the Swamp is the bush memoirs of Selwyn Dewdney, a noted Canadian artist and recorder of native rock art. His two great loves, art and the Canadian north, come together in this book. His respect for native culture and art is reflected in his own work, his insight into native rock art, and his passion for canoeing and the northern experience.The third theme of the book is history spanning the period from 1910 through to the 1970s during which the old north largely vanished. Dewdney was there to record the images of forgotten dreams painted on rocks and cliffs throughout the Canadian Shield. Thanks to these memoirs we are all there to witness these things with Dewdney.

The main characters dish all the dirt about the movie and its sequel, while the films' animators, directors and designers weight in on the finer points of the creative process.

A comprehensive overview of the artist's work focuses on Burchfield's expressive watercolors and includes drawing from his 1917 sketchbook, camouflage designs from his tour in the army, and wallpaper designs from the 1920s.

Contributors consider the vital urgency of human cohabitation with other forms of life, beginning a dialogue with possible futures. It is not easy to define a swamp, even in biology. The term is frequently used to characterize marshes, bogs, mires, wetlands, meadows, and other grey zones between land and water. In that sense, “swamp” is a metonym for a variety of transitional ecosystems and functions. This book invokes that concept as a tool to address the vital urgency of human cohabitation with other forms of life, placing the swamp at the crossroad of disciplines and practices. It is more than a biological ecosystem; it is a milieu of manifold sympoietic relationships, a locus of imagination, fostering the dialogue for possible futures. It is also a very particular modality—“an interface of Gaia”—offering a “face,” a certain physiognomy to faceless networks of relations, inviting us to engage in regimes of entanglement. The contributors to this volume expand on swampy notions, probing global and speculative art and architecture, intercalating philosophy and queer theory, and filtering these notions through the lens of posthumanist ecology, informed by the histories and theories of cybernetics, sociology, and the commons. Contributors Lorena Bello and Brent D. Ryan, Nikola Bojić, Chiara Bottici, Jonathan Jae-an Crisman and Newton Harrison, Glorianna Davenport and Gershon Dublon, T.J. Demos, Vittoria Di Palma, Jennifer Gabrys, Tinna Grétarsdóttir and Sigurjón Baldur Hafsteinsson, Stefan Helmreich, Stefanie Hessler, Yuk Hui, Giedrė Jankevičiūtė, Caroline A. Jones, Lars Bang Larsen, Bruno Latour, Gintautas Mažeikis, Astrida Neimanis, Kate Orff and Mariel Villeré, Andrew Pickering, Kristina Lee Podesva, Elizabeth A. Povinelli, María Puig de la Bellacasa and Dimitris Papadopoulos, Cristina Ricupero, Eglė Rindzevičiūtė, Kristupas Sabolius, Saskia Sassen, Caterina Scaramelli, Marco Scotini, Pelin Tan, Nomeda & Gediminas Urbonas, Angela Vettese

A comprehensive overview of the artist's work focuses on Burchfield's expressive watercolors and includes drawing from his 1917 sketchbook, camouflage designs from his tour in the army, and wallpaper designs from the 1920s.

As the author and artist of a heroine's surreal journey through a haunting southern landscape, Kelli Scott Kelley reveals the mastery of her craft and the strong narrative ability of her artwork. Borrowing from Roman mythology, Jungian analysis, and the psychology of fairy tales, Kelley presents a story of family dysfunction, atonement, and transformation. Reproductions of her artwork -- mixed-media paintings executed on repurposed antique linens -- punctuate the tale of Accalia, who is tasked with recovering the arms of her father from the belly of the swamp monster. Visually and metaphorically, Accalia's odyssey enchants and displaces as Kelley delicately balances the disquieting with the familiar. Rich in symbolism and expertly composed, Accalia and the Swamp Monster pulls readers into the physical realm through Kelley's chimerical imagery and then pushes them towards the inner world of the subconscious. To that end, Kelley's story is accompanied by essays from Jungian analyst Constance Romero and art historian Sarah Bonner. A culmination of nearly a decade of work, introspection, and research, Accalia and the Swamp Monster is both an entrancing display of Kelley's art and an affirmation of the transformative power of fairy tales.