I had to put this up for Joe. It's a series of videos using stop motion animation to recreate classic video games (pac man, tetris, space invaders, etc). I thought these were playful, funny, interesting, and once again speak to our stop motion animation project. These are a series of video performances from the GAME OVER project which was directed by Guillaume Reymond. This is all part of the agency NOTsoNOISY...if you'd like to check out the website, click here..
Friday, October 1, 2010
ACESS Project
The ACESS Project is by Marie Sester and is a public art installation utilizing the internet, computer, sound, and lighting technologies in which the internet user gains control of tracking individuals in public spaces due to an installed robotic spotlight and acoustic beam system. Once tracked, the light follows the individual and a beam of audio is projected so that only they can hear it (I'm not quite sure how that works...but hey, I'll go with it). The unknowning targets do not know why they are tracked or who is tracking them. The spotlight system jumps from one undisclosed public space to another- therefore maintaining its spontaneity and mystery. This project attempts to delve into issues such as the "Big Brother" idea, surveillance, detection, as well as the role of celebrity. Everyone wants to be in the spotlight; however, what happens once they get it? This project reveals humans interest and reaction to control (or lack thereof), visibility, the invasion of privacy,and being singled out. It has been installed all around the world and has obviously had an assortment of reactions from its participants. Currently, there is a permanent installation in Karlsruche, Germany which was started in 2006. You can actually participate online during the schedule hours (click here). Below is a short video of the project.
Collaborative Art
The below website presents the viewer with two images and a question. The question usually asks about an abstraction such as "love", "happiness", "fear, etc. It then asks the viewer/participant to click on the image in which most embodies that abstraction. The works gradually progress and change until it is completely agreed upon that it embodies its targeted abstraction.The site then gathers the results in an attempt to discover what we collectively think these abstractions look like. It seeks to take a look at the "collective consciousness" and to see if mankind as a whole agrees on a single visual representation of these abstract concepts. Aside from this very philosophical and intriguing experiment, it also offers up some beautiful artwork to experience. If you want to participate in this growing collaborative experiment, click here.
Below is an example of "love".
Below is an example of "love".
Thursday, September 23, 2010
Some Michel Gondry Love
With the talk about stop motion animation and The White Stripe's "Fell In Love With a Girl" music video (seen below) I thought about Michel Gondry (the director of "Fell in Love with a Girl"). He's one of my favorite directors...he does crazy things with as little digital altering of his film as possible. He's done music videos, films, and commercials. I thought I'd share some of his work to help inspire for our movie-making project.
The White Stripes' "Fell in Love with a Girl"...all stop motion animation with legos.
The White Stripes' "Hardest Button to Button"
Kylie Minogue's "Come into My World"
"Science of Sleep" Trailor (Has stop motion animation in the film)
Flight of Concords' "Carol Brown"
Also, if you need more stop animation motivation...look at this trailer for Wes Anderson's "Fantastic Mr. Fox"...can you imagine doing a 2 hour movie of stop motion animation?
The White Stripes' "Fell in Love with a Girl"...all stop motion animation with legos.
The White Stripes' "Hardest Button to Button"
Kylie Minogue's "Come into My World"
"Science of Sleep" Trailor (Has stop motion animation in the film)
Flight of Concords' "Carol Brown"
Also, if you need more stop animation motivation...look at this trailer for Wes Anderson's "Fantastic Mr. Fox"...can you imagine doing a 2 hour movie of stop motion animation?
Segregated Cities
Below is a map that Eric Fischer created (in which he put on his flickr account) that is quite beautiful and aesthetically pleasing as a piece of art; however, it's a disturbing yet meaningful social and cultural phenomenon. Fischer is considered a digital cartographer in which makes tourist and local maps. The below piece was based off of the 2000 census and marks the racial divisions in American cities. This racial seperation shows that segregation still exists and that this may be a key symptom to continued social problems in various cities. Below is his map of Chicago; however, if you'd like to look at more of his work you could either look at his Flickr account or click on the picture to look at a mini news article on him. His maps are truly gorgeous.
Key:
One Dot= 25 people
Red Dot= White
Blue Dot= Black
Green Dot= Asian
Orange Dot= Hispanic
Gray Dot= Other
Key:
One Dot= 25 people
Red Dot= White
Blue Dot= Black
Green Dot= Asian
Orange Dot= Hispanic
Gray Dot= Other
Saturday, September 18, 2010
Katharine Kreisher's "Self as Object"
On September 17th, professor Katharine Kreisher participated in the Hartwick’s Faculty Lecture Series in which she spoke about “Self as Object”- a theme that has been the inspiration for much of her work. I have been working with Kreisher on a number of projects and have taken several of her classes, so I have become quite familiar with her work; however, it was an enlightening experience to hear her talk openly and more in depth about her work. For the most part, Kreisher allows her work to be displayed and interpreted freely, permitting the viewer to create their own experience with each of her pieces. Even though through her talk Kreisher explained the process or steps in creating certain pieces, she still did not spoil this freedom of interpretation.
Kreisher’s photographs cannot be considered traditional photography. All her pieces are manipulated somehow whether she’s physically painting on them, scanning them, stapling them, tearing them, or using alternative processes. Despite the myriad of ways Kreisher plays with the picture-making process and the fact that she does not she ever show her face (or at least, a recognizable face) her work constantly goes back to a depiction and contemplation of self. Even her pinhole diptychs that, at times, fail to have any part of her in it, are still reflection of herself. Kreisher once explained in class that “all of your art inevitably becomes a self-portrait”. Kreisher fully embraces this idea and meditates on it while working, at times, she explained in the lecture; she creates a piece and then later realizes and recognizes what it truly means. Kreisher is able to use her body as a symbol for larger themes and narratives that express her emotive or spiritual statuses.
In one piece, “Self Portrait with Blue Fan” from her “Family Series”, a blurry Kreisher stands next to a wall of old, collected family photographs. Her hand movements and painted hand prints on the wall accent a photograph of herself as well as her father both at age twenty-five. This portrait becomes much more than just a document of what Kreisher looked like, and becomes a personal connection- or disconnection- between her and her father. Even though they share very similar appearances (especially at the same age), Kreisher explains this superficial connection was about the extent of their similarities- she was not particularly close to her father. To go along with this message, the photograph has a quite chilling quality about it. Though her features are evident, they’re fading into the background as are her hands and fan. It seems that, similar to the photographs of people who have passed behind her, she too will eventually be gone. All of Kreisher’s work holds a highly emotive quality about it which could be transmitted on a personal and universal level.
Kreisher ended her lecture by briefly touching on several other photographers that work with the self as an object. I found this quite interesting to see how other artists in the same medium address themselves as an object and the messages that they aim to transmit. For example, Tulu Bayar strives to show the similarities between social extreme differences- whether this is due to religious or cultural or racial differences. Laine Wyatt also explores the similarities between people but through a much more superficial and consumer-based exploration of women and their clothing.
Kreisher’s lecture was intriguing and inspirational. By allowing one’s self be the subject of their artwork forces the artist’s body to become the vehicle for a greater purpose. As a result, the artist places themselves in a highly vulnerable position. Kreisher beautifully embodied this in her work- especially in her “Family Series” and “What Ron Saw”. Kreisher allowed the audience to become part of her highly intimate artwork and also helped for viewers to understand how she utilizes herself as the object of both her past and present work.
Kreisher’s photographs cannot be considered traditional photography. All her pieces are manipulated somehow whether she’s physically painting on them, scanning them, stapling them, tearing them, or using alternative processes. Despite the myriad of ways Kreisher plays with the picture-making process and the fact that she does not she ever show her face (or at least, a recognizable face) her work constantly goes back to a depiction and contemplation of self. Even her pinhole diptychs that, at times, fail to have any part of her in it, are still reflection of herself. Kreisher once explained in class that “all of your art inevitably becomes a self-portrait”. Kreisher fully embraces this idea and meditates on it while working, at times, she explained in the lecture; she creates a piece and then later realizes and recognizes what it truly means. Kreisher is able to use her body as a symbol for larger themes and narratives that express her emotive or spiritual statuses.
In one piece, “Self Portrait with Blue Fan” from her “Family Series”, a blurry Kreisher stands next to a wall of old, collected family photographs. Her hand movements and painted hand prints on the wall accent a photograph of herself as well as her father both at age twenty-five. This portrait becomes much more than just a document of what Kreisher looked like, and becomes a personal connection- or disconnection- between her and her father. Even though they share very similar appearances (especially at the same age), Kreisher explains this superficial connection was about the extent of their similarities- she was not particularly close to her father. To go along with this message, the photograph has a quite chilling quality about it. Though her features are evident, they’re fading into the background as are her hands and fan. It seems that, similar to the photographs of people who have passed behind her, she too will eventually be gone. All of Kreisher’s work holds a highly emotive quality about it which could be transmitted on a personal and universal level.
Kreisher ended her lecture by briefly touching on several other photographers that work with the self as an object. I found this quite interesting to see how other artists in the same medium address themselves as an object and the messages that they aim to transmit. For example, Tulu Bayar strives to show the similarities between social extreme differences- whether this is due to religious or cultural or racial differences. Laine Wyatt also explores the similarities between people but through a much more superficial and consumer-based exploration of women and their clothing.
Kreisher’s lecture was intriguing and inspirational. By allowing one’s self be the subject of their artwork forces the artist’s body to become the vehicle for a greater purpose. As a result, the artist places themselves in a highly vulnerable position. Kreisher beautifully embodied this in her work- especially in her “Family Series” and “What Ron Saw”. Kreisher allowed the audience to become part of her highly intimate artwork and also helped for viewers to understand how she utilizes herself as the object of both her past and present work.
Friday, September 17, 2010
Random Interactive Sites
Once again, "Stumble Upon" has been my inspiration for a post. I "stumbled upon" several websites which sole purpose is to be viewer interactive. It's not trying to sell anything, there's no other pages, it's just an engaging site. I've truly begun to realize that the internet is essentially a twenty-four hour gallery because quite frankly any of these sites could be displayed in an exhibit. Click on each of the screen shots to get to the individual sites to play around.
The first site, ManInTheDark.com, is a black screen in which you can control a floating body by the motions of your mouse. If you click, a new man will appear and you can create a pattern in which the multiplied men will follow.
This second site displays a cityscape. When you move your mouse over different sections of the city it changes the time in which the city was photographed. It allows you to create a timelapse image with your mouse.
This final site is called Sketch Swap. This site allows you to draw a simple image then you get to send it off into the vast world of the interweb and it gives you another person's sketch. You could spend hours swapping images to see what you're going to get next. I've gotten everything to princesses attacking a city to a frog to a scribble. When you receive your swapped sketch, the site actually re-draws the image how the artist originally drew it. This was one of the sketches that I received:
The first site, ManInTheDark.com, is a black screen in which you can control a floating body by the motions of your mouse. If you click, a new man will appear and you can create a pattern in which the multiplied men will follow.
This second site displays a cityscape. When you move your mouse over different sections of the city it changes the time in which the city was photographed. It allows you to create a timelapse image with your mouse.
This final site is called Sketch Swap. This site allows you to draw a simple image then you get to send it off into the vast world of the interweb and it gives you another person's sketch. You could spend hours swapping images to see what you're going to get next. I've gotten everything to princesses attacking a city to a frog to a scribble. When you receive your swapped sketch, the site actually re-draws the image how the artist originally drew it. This was one of the sketches that I received:
Paintball Marilyn Monroe
I used Stumble Upon to find the below video. It's a paintball team in which set up on bleachers with designated colors to recreate an Andy Warhol-like representation of Marilyn Monroe. This video reminded me a lot of the chocolate syrup "Numa-Numa" guy portrait that we watched in class. It fuses art history (Andy Warhol, pop art, pointalism, etc) with current technology (video, youtube, internet, stumble upon) with a nontraditional medium (paintballs). The group dynamic also reminded me of the thumb-tack video we watched. I'm particularly drawn to artwork which depends on a group or audience participation because it's difficult to get everyone on the same page for anything, especially a piece of artwork. I found this video highly entertaining. Enjoy.
Paintball Pop Art Marilyn Monroe - Watch more Funny Videos
Paintball Pop Art Marilyn Monroe - Watch more Funny Videos
Sunday, September 12, 2010
"Waters of Immortality" Review
On September 11th, SUNY Oneonta and Hartwick College sponsored the performance piece “Waters of Immortality” by Maureen Flemming. Flemming created a meditative atmosphere by utilizing a number of disciplines such as dance, light, music, and digital media. The subtle body movements of Flemming made her a living sculpture. The negative spaces between her limbs altered and shifted, forcing the human body- a shape we’re all familiar with- to become distorted, abstract, and alien. The lighting allowed her bare body to become a canvas where the shadows created by her muscles and limbs also contributed to the sculptures. The music, lighting, and props all aided in the exploration of vulnerability, purity, and spirituality.
In an exploration of something we all go through, Flemming seemed to be acting out and exploring the unspecified struggles that we all wrestle with- our own restrictions and need to experience utter freedom. This search and longing for release was represented in the use of fabric. In the beginning of the performance, Flemming is confined by a tight, taught piece of fabric in which she cannot escape despite her stretching. Then she is left bare, naked, and alone with her own body. Yet, by the end, she is in control of the fabric. She moves it around her and it seems that the fabric merely articulates the space and liberty around her.
Despite having an interest in performance art (especially since it’s the focus of my thesis!), I was quite disappointed in the Flemming piece. The images promoting the event showed stills of Flemming in these amazing positions with fabrics in mid-air, outstretched, and seemingly floating in space. As a result, I thought that the movements in the piece would have been much quicker, varied, and larger. Especially since it was sold as a “dance”, I thought there’d be a stronger correlation between the heavy beat music and the movements Flemming was creating. Though the slow, yoga-like movements were impressive and at times visually engaging, there was something lacking in the overall performance for me. There were endless opportunities for amazing photographs and stills to have been taken, especially with the ethereal lighting, but I kept thinking that this would be a stronger gallery piece as opposed to a stage piece. I was much more affected and moved by the photographs of Flemming in these positions in SUNY Oneonta’s gallery than by watching her slowly crawl into them. Similarly, I kept thinking that this performance may be more interesting if I had walked into a gallery and amongst the photographs was Flemming on a platform or in a mini-pool of water, or even behind glass where she contorted herself into a human sculpture. Of course, the digital and aural contributions of the performance could also translate into the gallery.
I was also disappointed by the use of the materials at hand. It seemed that the beautiful and somewhat eerie lighting was meant to create shadows on the screens behind Flemming. At times there were faint shadows; however, they seemed overpowered by the large, blank screen. There could have been some amazing correlations and relationships between Flemming’s movements, the projected shadows, and the digital art. The use of the screens was heavily underutilized. Also, the circle mirror in the middle of the stage with the water was also an underused opportunity. I feel like there were so many things she could have done with the use of the ripples of the water, reflections, and again- the shadows, lighting, and digital media.
I did, however, enjoy the film/digital components of the performance. Half-way through the performance was a short projected piece where a photograph of Flemming stretching morphed. This, similar to her actual movements, happened very slowly and at times you couldn’t be sure if anything was happening at all. Limbs slowly touched, moved, twisted, and turned. Soon the recognizable Flemming was an abstract shape. This larger than life image supported and enhanced the bodily shapes that Flemming was actually contorting herself in. It was a very interesting experiment in teasing the eye. Shadows became hair, blobs of color became limbs, and a face emerged from nothing. This was truly a beautiful exploration of the human body as a form.
I also truly enjoyed the final video where Flemming was dancing, pushing, and pulling the white cloth around her preceding her doing so on stage. I found that the video outshined her enacting it because the film had such harsh lighting, was much larger, and also used effects. On the film, Flemmings ribs, muscles, and body could be completely defined, yet on stage which put her an inevitable distance away from the audience, these couldn’t not be seen. By editing the video to speed up, slow down, or reverse also gave the video a much more surreal feel than the actual performance. The video seemed to embody the music better as well. There was so much tension in the whole performance; the video seemed to be the only component of the whole presentation that came close to having any climax or release.
Even though I didn’t particularly enjoy the performance, I think there were some heavy and interesting themes explored in the piece. The search for freedom and spirituality and sheer boldness of Flemming’s vulnerability were noteworthy. Perhaps I didn’t understand or wasn’t in the right state of mind for this highly meditative and intimate piece. I just felt there was a disconnect between some of the segments, some props were underutilized, and that it would have been a stronger gallery piece.
In an exploration of something we all go through, Flemming seemed to be acting out and exploring the unspecified struggles that we all wrestle with- our own restrictions and need to experience utter freedom. This search and longing for release was represented in the use of fabric. In the beginning of the performance, Flemming is confined by a tight, taught piece of fabric in which she cannot escape despite her stretching. Then she is left bare, naked, and alone with her own body. Yet, by the end, she is in control of the fabric. She moves it around her and it seems that the fabric merely articulates the space and liberty around her.
Despite having an interest in performance art (especially since it’s the focus of my thesis!), I was quite disappointed in the Flemming piece. The images promoting the event showed stills of Flemming in these amazing positions with fabrics in mid-air, outstretched, and seemingly floating in space. As a result, I thought that the movements in the piece would have been much quicker, varied, and larger. Especially since it was sold as a “dance”, I thought there’d be a stronger correlation between the heavy beat music and the movements Flemming was creating. Though the slow, yoga-like movements were impressive and at times visually engaging, there was something lacking in the overall performance for me. There were endless opportunities for amazing photographs and stills to have been taken, especially with the ethereal lighting, but I kept thinking that this would be a stronger gallery piece as opposed to a stage piece. I was much more affected and moved by the photographs of Flemming in these positions in SUNY Oneonta’s gallery than by watching her slowly crawl into them. Similarly, I kept thinking that this performance may be more interesting if I had walked into a gallery and amongst the photographs was Flemming on a platform or in a mini-pool of water, or even behind glass where she contorted herself into a human sculpture. Of course, the digital and aural contributions of the performance could also translate into the gallery.
I was also disappointed by the use of the materials at hand. It seemed that the beautiful and somewhat eerie lighting was meant to create shadows on the screens behind Flemming. At times there were faint shadows; however, they seemed overpowered by the large, blank screen. There could have been some amazing correlations and relationships between Flemming’s movements, the projected shadows, and the digital art. The use of the screens was heavily underutilized. Also, the circle mirror in the middle of the stage with the water was also an underused opportunity. I feel like there were so many things she could have done with the use of the ripples of the water, reflections, and again- the shadows, lighting, and digital media.
I did, however, enjoy the film/digital components of the performance. Half-way through the performance was a short projected piece where a photograph of Flemming stretching morphed. This, similar to her actual movements, happened very slowly and at times you couldn’t be sure if anything was happening at all. Limbs slowly touched, moved, twisted, and turned. Soon the recognizable Flemming was an abstract shape. This larger than life image supported and enhanced the bodily shapes that Flemming was actually contorting herself in. It was a very interesting experiment in teasing the eye. Shadows became hair, blobs of color became limbs, and a face emerged from nothing. This was truly a beautiful exploration of the human body as a form.
I also truly enjoyed the final video where Flemming was dancing, pushing, and pulling the white cloth around her preceding her doing so on stage. I found that the video outshined her enacting it because the film had such harsh lighting, was much larger, and also used effects. On the film, Flemmings ribs, muscles, and body could be completely defined, yet on stage which put her an inevitable distance away from the audience, these couldn’t not be seen. By editing the video to speed up, slow down, or reverse also gave the video a much more surreal feel than the actual performance. The video seemed to embody the music better as well. There was so much tension in the whole performance; the video seemed to be the only component of the whole presentation that came close to having any climax or release.
Even though I didn’t particularly enjoy the performance, I think there were some heavy and interesting themes explored in the piece. The search for freedom and spirituality and sheer boldness of Flemming’s vulnerability were noteworthy. Perhaps I didn’t understand or wasn’t in the right state of mind for this highly meditative and intimate piece. I just felt there was a disconnect between some of the segments, some props were underutilized, and that it would have been a stronger gallery piece.
Friday, September 10, 2010
ArtWanted.com
This is just to share a link to ArtWanted.com with people who may be interested in it. You can post your work, look through other people's work, maybe get paid, sell some work, be found, whatever.
Artwanted.com
Artwanted.com
Wordle
Despite having felt "internet savvy" for a while, after doing some student teaching it became incredibly clear that the generation below me has a much better grasp on whats out there. Students talked about sporcle.com and tumblr.com and all these other sites that I was completely oblivious to. One website that they turned me on to was wordle. It's this website where you can either enter text, a URL to a blog or blog feed, or a del.icio.ous user name to create a jumbled mass of words to create an amorphic shape. From there, you can adjust the color palette, shape, font, etc. It really becomes a quite poetic experiment and unites both visual art and literature. There's something intentional yet spontaneous about the whole project. On the website, there's a gallery of users. I think this could be incorporated into an English classroom (or any classroom) to be a fun excercise in wordchoice, poetry, or just an interesting art project. As for me, I did a series based on a coversation between one of my friends and I via e-mail. (Feel free to click on any of the images to enlarge).
I find this particular experiment interesting because you can
draw out words that are similar in each piece...you can
see topics that were passed back and forth.Even though all
the words are there, the complete idea that was originally
transmitted via e-mail is completely lost. It's truly an
aesthetically intriguing,yet poetically engaging experience.
If you want to play with Wordle click here.
Ipad Art
I have to admit that I wasn't really interested in the Ipad despite all the buzz and press it was getting before and during its release. It seemed like a large ipod to me; however, when I came across the following video I was truly amazed by and interested in what the Ipad meant for the art-world. I thought digital art had really created its own infinite limits- I couldn't really imagine a "next level". What I mean by that is, I thought it was just a world of manipulation, fooling the eye, and an easier way to do things that man had learned and perfected for hundreds of thousands of years by hand. Even though I know there are touch screens out there for computer art...the Ipad has created a new type of canvas to work on. Now, finger painting can be digitized, showcased, e-mailed, and moved around. I believe this video also puts to rest anyone who believes that digital art takes no "artistic" talent (and yes, there are those out there who believe that!).
If you would like to check out more of his artwork, here's David Kassan's website.
The second video shows the ipad in a gallery as well as acting as a portable gallery. It's sort of interesting to think that you could hold a whole portfolio on a thin little computer. This also makes me wonder if in a few years when you go to Paris or New York instead of those corner-side artists who ask to sketch you in cante crayon for a few bucks, maybe we'll be seeing people with ipads and a portable printer.
If you would like to check out more of his artwork, here's David Kassan's website.
The second video shows the ipad in a gallery as well as acting as a portable gallery. It's sort of interesting to think that you could hold a whole portfolio on a thin little computer. This also makes me wonder if in a few years when you go to Paris or New York instead of those corner-side artists who ask to sketch you in cante crayon for a few bucks, maybe we'll be seeing people with ipads and a portable printer.
Stephen Wiltshire
I first stumbled upon Stephen Wiltshire when I was doing a project on Savant Syndrome. His impeccable talent and unbelievable story truly resonated with me and so I thought he was definitely worth sharing with everyone. For those of you who don't know, Savant Syndrome is a very rare condition (there's only about 50 cases at any given time in history) in which a person has extraordinary areas of expertise such as in the arts, math, memory, etc. Many people immediately think of the movie "Rain Man"; however, that was a special case where the man had what experts call "Super Savant Skills" which means he memorized practically everything ever said to him, he could read two pages of text at a time, and he had a wealth of knowledge. Most Savants only specialize in one skill. For example, Stephen Wiltshire excels in drawing and painting. Other Savants may excel in playing the piano, or doing hard math problems easily. Many Savants suffer from autism. This means that many Savants have crazy talents, but may not be able to tie their own shoes or uphold a coversation. Stephen Wiltshire, for example, couldn't speak in complete sentences until he was 11 years old. There's not much known about Savant Syndrome such as what causes it, why its linked to Autism, whether its genetic or acquired, etc, but it's truly a fascinating thing. I have plenty of links and research on it if anyone is particularly interested in it.
Anyway, in Stephen Wiltshire's case, as I already mentioned, he does these amazing drawings and paintings of cities all from memory. He's actually been nicknamed "The Human Camera":
What makes Stephen even more incredible is that he does these large cityscapes of whole cities by complete memory. In the video below he visits Rome for the first time, goes on a 40-45 minute helicopter ride around the city of Rome then sits down with a 5 ft roll of paper and proceeds to recreate the whole city of Rome with very few errors. It's incredible. As a result, Stephen has had shows in a number of prominate cities, created books, gone on tours, been on television shows, and much more because of his amazing talents. Below is the video as well as the link to his site if you want to see more of his work or learn more about him.
To visit Stephen's website click here.
Anyway, in Stephen Wiltshire's case, as I already mentioned, he does these amazing drawings and paintings of cities all from memory. He's actually been nicknamed "The Human Camera":
What makes Stephen even more incredible is that he does these large cityscapes of whole cities by complete memory. In the video below he visits Rome for the first time, goes on a 40-45 minute helicopter ride around the city of Rome then sits down with a 5 ft roll of paper and proceeds to recreate the whole city of Rome with very few errors. It's incredible. As a result, Stephen has had shows in a number of prominate cities, created books, gone on tours, been on television shows, and much more because of his amazing talents. Below is the video as well as the link to his site if you want to see more of his work or learn more about him.To visit Stephen's website click here.
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