When viewed under a gemological microscope in diffused direct transmitted light, aqua aura displays the following properties:. Share to:. Top row starting from the left moving right is titanium Quartz, lemon Quartz, sunshine aura Quartz, rose aura Quartz , ruby aura Quartz. Credit : Nathan Almeyda. In some cases they come from my shoots, sometimes from strangers who participate in the overproduction of the web or of its sub-archives. What I would like to remain in each of my images is the profound nature of this hyper-eye and the vastness of its components, which, ultimately, are the summing of all the eyes of its users and creators.
I like the idea that in this Meta-Portrait the last consequence of the Sublime could exist and persist in a sort of terrifying emotion and, at the same time, in a state of euphoria. Well, it must be said, the outcome of my challenge is always an image or an experience, somehow, aesthetic or visual.
The web, by its nature, follows an entropic process. This condition is unacceptable when you are working on the creation of an image or on any other kind of work that has to do with the perceptions end with senses. The creation of a piece or work, as Roland Barthes has argued, is an algebraic calculation. Talking about the genesis of the works, I think the creative process follows an anarchic path. There are no predefined rules.
Some works have a crystalline definition in the moment itself when they are conceived, other times they are the result of a long gestation. In the studio, or in my mind, I set up a scientific research laboratory full of slides, on which I distribute microorganisms of an idea and infinitely small fragments of an intuition and then I watch them interacting with each other.
Looking at them, I see the changing of their morphology, I analyse their mutation and I trace the curve of their mutual interference. Sometimes the experiment is sterile and destined for failure but many other times it is not. Of these things, in their process of dissolution, I like to note their poetic component.
Destined for nothingness, they bring me a poignant emotion. They make me experience a feeling of nostalgia also when they are still present. Certainly many other things and many other phenomena, completely new, are coming on the scene and for sure they play, or will play in the future, their own game, but of the latter I know nothing, for me they are perfect strangers.
For the others, on the contrary, I know very well some of them. They have been friendly presences and tender traveling companions and I feel pain for their death. In my recent work, I have documented a lot about the data concerning the processes that involve the dissolving of ice, the disappearing of fauna and the consumption of natural soil.
The trends of their deterioration are disconcerting. In any case, I chose to focus attention precisely on the ice, on the land of poles and on high altitude glaciers. Actually, I focused attention so much that ice has become one of my key representation subjects. I wondered what we could keep of these things after the process of their disappearance. I selected from my archive images of museums that I visited, and shots taken from journeys to the Arctic or Antarctic areas, and with them I began to build fictitious places, imaginary museums that contain and show fragments of lost landscapes: portions of frozen forests, icebergs , snow crystals in macroscopic dimensions and other elements.
The objects represented in them are vehicles of an experience transcending the finiteness of human existence.
In some ways, they are places that tell us a new sense of the sublime in small and limited fragments. Observing these first images of the series, I realised that this disappearance does not only involve places, things and a certain landscape model but, in a broader sense, it also involves a precise form of beauty. Together with the ice and the sense of desolation, we are losing elements of, let us say, a non-utilitarian beauty; that panic experience of things ignoring and transcending what humans artificially produce.
What is decanted in my museums is the aesthetic condition that comes closest to the sense of the Absolute. For this reason, in the construction of these imaginary spaces, I did not start from the idea of a generic museum but I chose and reinterpreted art venues, especially contemporary art. Museums similar to the Hangar Bicocca in Milan, for instance, or to the Deichtorhallen in Hamburg and other new spaces designed by various contemporary archi-stars.
Any age that has left signs of human interpretation interests me. Starting from In such a panorama, of course, there are chapters striking me more and others less. I am thinking about, for example, the Roman portraiture and the Egyptian portraits of the Ptolemaic era, which are perhaps the first and most disconcerting sign of modernity in our history. To continue, I am thinking about Light Art that I see as an extreme offshoot of an investigation into the territory of the Sublime … and the Cinema, why not!?
Is there something about it that you really appreciate? Is there something about it that you dislike? While speaking, he expressed his opinion regarding the situation of international contemporary art. His statement seemed to me lucid and absolutely corresponding to the reality of recent years.
Slowly it was filled with operators who replaced the intrinsic value of the artwork with values and market methods borrowed from other sectors: finance, international stock exchanges and fashion. The transformation of art is now definitively accomplished and stabilised. From a platform for research and production of cultural data, art has become a brand subjected to financial operations whose value is also dictated, above all, by the market circuit in which the artist is positioned.
These processes define the quality and destiny of the work in the short-medium term. The majority of gallery owners, dealers and curators have accepted and share this misconception.
Creating Aura crystals require a lot of expensive equipment for atomising the elements, spraying, and superheating. It is usually done by a few main suppliers in the US and China. The costs I think would be quite cost-prohibitive for personal work.
You could try and find some good quality metallic coloured paint and make a light colour wash over the crystals if you are just interested in creating a colour effect. Hope this is helpful! Your email address will not be published. Save my name, email, and website in this browser for the next time I comment.
Worldwide Shipping, with love from Amsterdam. Your Guide to Aura Crystals We all love some juicy coloured crystals but for some Aura Crystals are taboo while for others they are real treasures. What are Aura Crystals? How are Aura Crystals Made? What types of Aura Crystals are there?
How do I care for my Aura Crystal? Show it lots of love. The more you cherish it, the more love you will receive in return.
Recharge your crystal by placing it in the moonlight, ideally at a new moon or refresh its energy in a freshwater stream. To clean your Aura Crystal use warm water but do not use any harsh cleaning chemicals or scrubbing sponges. You can also use a soft dry cloth on points and towers or a soft make-up brush on geodes and clusters. Add to basket.
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