Homage to photography artist Nini Norrmann

I have no idea what a “process-based blog” is about, but I am wearing
a soft spot in my tastes for the low-key semiabstract photographs of
one Nini Norrmann, available elsewhere on their own soi-disant process
blog
. In addition, every time I post a Hesco picture to the
blog, the same Nini Norrmann slaps a “favorite” designation on it.

 

So in the latest chapter of my continuing effort to match the
arbitrary and capricious supply of postings here to perceived demand,
I dragged the camera out to the backyard yesterday evening during one
of the lulls in the ongoing sandstorm and shot a couple dozen
Hescofotos, then after dinner ran them through the photo editor (crop,
rotate, straighten, tint, shadow, sharpen, and neutral-color picker,
for starters) to create my own batch of semiabstractions, using the
countervailing lattices and bulges of the Hescos as raw material.
Attached are the results.

 

My favorite so far is no. 1874 (no. 8 in the gallery). The colors seem
more natural and the four-quarters composition is more rigorous, so it
allows the eye to focus on the different contents of each quarter.

4 thoughts on “Homage to photography artist Nini Norrmann

  1. I like the spiral wire holding together the other straight wires (or maybe I should say, "metal rod" instead of "wire"). it’s a clever way to hinge the grid panels, it’s like a spiral-bound notebook! then it looks like where they join two hescos together, they slip another rod down through the two adjacent, interlocking spirals (photos 7 & 9)… pretty sweet strategies.

  2. The grid panels fold flat. I saw them collapsed on a truck once, but <br/>didn’t take a picture. The intriguing thing about the join is that you <br/>need to connect them empty, then once they are filled, they are not <br/>going anywhere and I suppose you could take the joins out.

  3. yeah, it looks like in the one that got busted open, that the vertical rod(s) failed somehow, and you can see the spiral rod stretched straight out across the break, between the two grid panels… I am about to learn how to make finger-jointed boxes (something I’ve always wanted to know how to do) and it’s interesting to think about the structural strategies of multiple small points of connection: in the hescos, thin spirals hold these giant masses together, tiny thread sewn in many stitches joins fabric panels to carry great loads… even the corners of old brick walls act in the same way, the same kind of interlocking joining.

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