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Dwelling through Indeterminacy: Susana Torre’s House of Meanings (1970–1972)

Susana Torre is an Argentine-born architect who has worked primarily in the United States, where she studied at Columbia University and later chose to settle. Her relocation coincided with the onset of Argentina’s Dirty War, a period of state terrorism during which the military dictatorship carried out a systematic campaign of repression against those it identified as political opponents.

Her practice spans a wide range of scales and formats, including built work, from interiors to urban plans, as well as theoretical writing, exhibitions, and a sustained career as a lecturer and educator. Throughout her work, she has consistently engaged with feminist culture and practice, examining how a progressive role of women in society can be expressed and encouraged through architecture.

Her 1970–1972 project, House of Meanings, is a theoretical proposal that was later partially translated into two specific projects. A central concern throughout Torre’s practice is “the tension between the ‘completeness’ of objects and the ‘incompleteness’ of design as a process”, the built form and the indeterminate and open-ended process of dwelling and constructing a community which evolves over time. This dialectic is clearly articulated in the House of Meanings, conceived as an open-ended matrix of parallel walls that can be incrementally completed at multiple levels through the addition of modules, a three-dimensional square grid presented as three to four metres but which could take different dimensions once applied to a specific context. The project proposes a form of inhabitation that accommodates change, allowing for mutable states of dwelling over time.

Read more on SOCKS

Dwelling through Indeterminacy: Susana Torre’s House of Meanings (1970–1972)

Susana Torre is an Argentine-born architect who has worked primarily in the United States, where she studied at Columbia University and later chose to settle. Her relocation coincided with the onset of Argentina’s Dirty War, a period of state terrorism during which the military dictatorship carried out a systematic campaign of repression against those it identified as political opponents.

Her practice spans a wide range of scales and formats, including built work, from interiors to urban plans, as well as theoretical writing, exhibitions, and a sustained career as a lecturer and educator. Throughout her work, she has consistently engaged with feminist culture and practice, examining how a progressive role of women in society can be expressed and encouraged through architecture.

Her 1970–1972 project, House of Meanings, is a theoretical proposal that was later partially translated into two specific projects. A central concern throughout Torre’s practice is “the tension between the ‘completeness’ of objects and the ‘incompleteness’ of design as a process”, the built form and the indeterminate and open-ended process of dwelling and constructing a community which evolves over time. This dialectic is clearly articulated in the House of Meanings, conceived as an open-ended matrix of parallel walls that can be incrementally completed at multiple levels through the addition of modules, a three-dimensional square grid presented as three to four metres but which could take different dimensions once applied to a specific context. The project proposes a form of inhabitation that accommodates change, allowing for mutable states of dwelling over time.

Read more on SOCKS

Dwelling through Indeterminacy: Susana Torre’s House of Meanings (1970–1972)

Susana Torre is an Argentine-born architect who has worked primarily in the United States, where she studied at Columbia University and later chose to settle. Her relocation coincided with the onset of Argentina’s Dirty War, a period of state terrorism during which the military dictatorship carried out a systematic campaign of repression against those it identified as political opponents.

Her practice spans a wide range of scales and formats, including built work, from interiors to urban plans, as well as theoretical writing, exhibitions, and a sustained career as a lecturer and educator. Throughout her work, she has consistently engaged with feminist culture and practice, examining how a progressive role of women in society can be expressed and encouraged through architecture.

Her 1970–1972 project, House of Meanings, is a theoretical proposal that was later partially translated into two specific projects. A central concern throughout Torre’s practice is “the tension between the ‘completeness’ of objects and the ‘incompleteness’ of design as a process”, the built form and the indeterminate and open-ended process of dwelling and constructing a community which evolves over time. This dialectic is clearly articulated in the House of Meanings, conceived as an open-ended matrix of parallel walls that can be incrementally completed at multiple levels through the addition of modules, a three-dimensional square grid presented as three to four metres but which could take different dimensions once applied to a specific context. The project proposes a form of inhabitation that accommodates change, allowing for mutable states of dwelling over time.

Read more on SOCKS

Dwelling through Indeterminacy: Susana Torre’s House of Meanings (1970–1972)

Susana Torre is an Argentine-born architect who has worked primarily in the United States, where she studied at Columbia University and later chose to settle. Her relocation coincided with the onset of Argentina’s Dirty War, a period of state terrorism during which the military dictatorship carried out a systematic campaign of repression against those it identified as political opponents.

Her practice spans a wide range of scales and formats, including built work, from interiors to urban plans, as well as theoretical writing, exhibitions, and a sustained career as a lecturer and educator. Throughout her work, she has consistently engaged with feminist culture and practice, examining how a progressive role of women in society can be expressed and encouraged through architecture.

Her 1970–1972 project, House of Meanings, is a theoretical proposal that was later partially translated into two specific projects. A central concern throughout Torre’s practice is “the tension between the ‘completeness’ of objects and the ‘incompleteness’ of design as a process”, the built form and the indeterminate and open-ended process of dwelling and constructing a community which evolves over time. This dialectic is clearly articulated in the House of Meanings, conceived as an open-ended matrix of parallel walls that can be incrementally completed at multiple levels through the addition of modules, a three-dimensional square grid presented as three to four metres but which could take different dimensions once applied to a specific context. The project proposes a form of inhabitation that accommodates change, allowing for mutable states of dwelling over time.

Read more on SOCKS

Felipe Bedoya: the Grid as an Ordering Universe

Felipe Bedoya @felipe_bedoya
is an artist from Bogotá, Colombia. He employs a personal visual language akin to drawing, in which photography is deconstructed as a medium by isolating and selecting fragments to build new narratives.

Often, he uses a grid, like graph paper, to organise images of people and objects. He starts from photographs and then redraws and rearranges them, placing each person within a separate square. In this way, he shows how individuals can share the same space while remaining distinct and isolated. Through this technique, he reflects on his idea of home as “an island constructed from fragments that hold memory, shelter solitude, and where the artist’s origin always resides as an aesthetic reference.”

Read more on SOCKS

Felipe Bedoya: the Grid as an Ordering Universe

Felipe Bedoya @felipe_bedoya
is an artist from Bogotá, Colombia. He employs a personal visual language akin to drawing, in which photography is deconstructed as a medium by isolating and selecting fragments to build new narratives.

Often, he uses a grid, like graph paper, to organise images of people and objects. He starts from photographs and then redraws and rearranges them, placing each person within a separate square. In this way, he shows how individuals can share the same space while remaining distinct and isolated. Through this technique, he reflects on his idea of home as “an island constructed from fragments that hold memory, shelter solitude, and where the artist’s origin always resides as an aesthetic reference.”

Read more on SOCKS

Felipe Bedoya: the Grid as an Ordering Universe

Felipe Bedoya @felipe_bedoya
is an artist from Bogotá, Colombia. He employs a personal visual language akin to drawing, in which photography is deconstructed as a medium by isolating and selecting fragments to build new narratives.

Often, he uses a grid, like graph paper, to organise images of people and objects. He starts from photographs and then redraws and rearranges them, placing each person within a separate square. In this way, he shows how individuals can share the same space while remaining distinct and isolated. Through this technique, he reflects on his idea of home as “an island constructed from fragments that hold memory, shelter solitude, and where the artist’s origin always resides as an aesthetic reference.”

Read more on SOCKS

Felipe Bedoya: the Grid as an Ordering Universe

Felipe Bedoya @felipe_bedoya
is an artist from Bogotá, Colombia. He employs a personal visual language akin to drawing, in which photography is deconstructed as a medium by isolating and selecting fragments to build new narratives.

Often, he uses a grid, like graph paper, to organise images of people and objects. He starts from photographs and then redraws and rearranges them, placing each person within a separate square. In this way, he shows how individuals can share the same space while remaining distinct and isolated. Through this technique, he reflects on his idea of home as “an island constructed from fragments that hold memory, shelter solitude, and where the artist’s origin always resides as an aesthetic reference.”

Read more on SOCKS

Felipe Bedoya: the Grid as an Ordering Universe

Felipe Bedoya @felipe_bedoya
is an artist from Bogotá, Colombia. He employs a personal visual language akin to drawing, in which photography is deconstructed as a medium by isolating and selecting fragments to build new narratives.

Often, he uses a grid, like graph paper, to organise images of people and objects. He starts from photographs and then redraws and rearranges them, placing each person within a separate square. In this way, he shows how individuals can share the same space while remaining distinct and isolated. Through this technique, he reflects on his idea of home as “an island constructed from fragments that hold memory, shelter solitude, and where the artist’s origin always resides as an aesthetic reference.”

Read more on SOCKS

Data Loci is the arrangement of two narratives that respond to each other: on the one hand, it is an exploration of the organizing capacities of architecture in transcending its natural functions to become a means of recording knowledge; on the other hand, it tells the story that begins with the invention of photographic image banks and leads to the generative tools of machine learning.
Data Loci is the text of a lecture given jointly by the architect Mariabruna Fabrizi (socks-studio) and the artist Christophe Lemaitre.

Texts by: Mariabruna Fabrizi, Christophe Lemaitre @chr_lemaitre.
Designed by: Lucas Lejeune @lucaslejeune.fr
Published by Promesse

We will present Data Loci today (15/11/2025) at Offprint @offprint_projects @cesure.paris in Paris at 3:30 pm

Data Loci is the arrangement of two narratives that respond to each other: on the one hand, it is an exploration of the organizing capacities of architecture in transcending its natural functions to become a means of recording knowledge; on the other hand, it tells the story that begins with the invention of photographic image banks and leads to the generative tools of machine learning.
Data Loci is the text of a lecture given jointly by the architect Mariabruna Fabrizi (socks-studio) and the artist Christophe Lemaitre.

Texts by: Mariabruna Fabrizi, Christophe Lemaitre @chr_lemaitre.
Designed by: Lucas Lejeune @lucaslejeune.fr
Published by Promesse

We will present Data Loci today (15/11/2025) at Offprint @offprint_projects @cesure.paris in Paris at 3:30 pm

Data Loci is the arrangement of two narratives that respond to each other: on the one hand, it is an exploration of the organizing capacities of architecture in transcending its natural functions to become a means of recording knowledge; on the other hand, it tells the story that begins with the invention of photographic image banks and leads to the generative tools of machine learning.
Data Loci is the text of a lecture given jointly by the architect Mariabruna Fabrizi (socks-studio) and the artist Christophe Lemaitre.

Texts by: Mariabruna Fabrizi, Christophe Lemaitre @chr_lemaitre.
Designed by: Lucas Lejeune @lucaslejeune.fr
Published by Promesse

We will present Data Loci today (15/11/2025) at Offprint @offprint_projects @cesure.paris in Paris at 3:30 pm

Data Loci is the arrangement of two narratives that respond to each other: on the one hand, it is an exploration of the organizing capacities of architecture in transcending its natural functions to become a means of recording knowledge; on the other hand, it tells the story that begins with the invention of photographic image banks and leads to the generative tools of machine learning.
Data Loci is the text of a lecture given jointly by the architect Mariabruna Fabrizi (socks-studio) and the artist Christophe Lemaitre.

Texts by: Mariabruna Fabrizi, Christophe Lemaitre @chr_lemaitre.
Designed by: Lucas Lejeune @lucaslejeune.fr
Published by Promesse

We will present Data Loci today (15/11/2025) at Offprint @offprint_projects @cesure.paris in Paris at 3:30 pm

Data Loci is the arrangement of two narratives that respond to each other: on the one hand, it is an exploration of the organizing capacities of architecture in transcending its natural functions to become a means of recording knowledge; on the other hand, it tells the story that begins with the invention of photographic image banks and leads to the generative tools of machine learning.
Data Loci is the text of a lecture given jointly by the architect Mariabruna Fabrizi (socks-studio) and the artist Christophe Lemaitre.

Texts by: Mariabruna Fabrizi, Christophe Lemaitre @chr_lemaitre.
Designed by: Lucas Lejeune @lucaslejeune.fr
Published by Promesse

We will present Data Loci today (15/11/2025) at Offprint @offprint_projects @cesure.paris in Paris at 3:30 pm

Data Loci is the arrangement of two narratives that respond to each other: on the one hand, it is an exploration of the organizing capacities of architecture in transcending its natural functions to become a means of recording knowledge; on the other hand, it tells the story that begins with the invention of photographic image banks and leads to the generative tools of machine learning.
Data Loci is the text of a lecture given jointly by the architect Mariabruna Fabrizi (socks-studio) and the artist Christophe Lemaitre.

Texts by: Mariabruna Fabrizi, Christophe Lemaitre @chr_lemaitre.
Designed by: Lucas Lejeune @lucaslejeune.fr
Published by Promesse

We will present Data Loci today (15/11/2025) at Offprint @offprint_projects @cesure.paris in Paris at 3:30 pm

Forgotten Corners of the World: Heidi Linck’s Enigmatic Works

Heidi Linck (@atelier_heidi_linck) is a multimedia artist based in the Netherlands. Her work explores the poetic dimension of neglected spaces and their capacity to convey a sense of loss while opening up potential forms of imagination. The encounter between collective and individual memory is expressed in both her works on paper and her photographs of models: the dark tones of her gouaches echo the somber atmosphere in which her sculptural objects are immersed.

Link in bio

Forgotten Corners of the World: Heidi Linck’s Enigmatic Works

Heidi Linck (@atelier_heidi_linck) is a multimedia artist based in the Netherlands. Her work explores the poetic dimension of neglected spaces and their capacity to convey a sense of loss while opening up potential forms of imagination. The encounter between collective and individual memory is expressed in both her works on paper and her photographs of models: the dark tones of her gouaches echo the somber atmosphere in which her sculptural objects are immersed.

Link in bio

Forgotten Corners of the World: Heidi Linck’s Enigmatic Works

Heidi Linck (@atelier_heidi_linck) is a multimedia artist based in the Netherlands. Her work explores the poetic dimension of neglected spaces and their capacity to convey a sense of loss while opening up potential forms of imagination. The encounter between collective and individual memory is expressed in both her works on paper and her photographs of models: the dark tones of her gouaches echo the somber atmosphere in which her sculptural objects are immersed.

Link in bio

Forgotten Corners of the World: Heidi Linck’s Enigmatic Works

Heidi Linck (@atelier_heidi_linck) is a multimedia artist based in the Netherlands. Her work explores the poetic dimension of neglected spaces and their capacity to convey a sense of loss while opening up potential forms of imagination. The encounter between collective and individual memory is expressed in both her works on paper and her photographs of models: the dark tones of her gouaches echo the somber atmosphere in which her sculptural objects are immersed.

Link in bio

Forgotten Corners of the World: Heidi Linck’s Enigmatic Works

Heidi Linck (@atelier_heidi_linck) is a multimedia artist based in the Netherlands. Her work explores the poetic dimension of neglected spaces and their capacity to convey a sense of loss while opening up potential forms of imagination. The encounter between collective and individual memory is expressed in both her works on paper and her photographs of models: the dark tones of her gouaches echo the somber atmosphere in which her sculptural objects are immersed.

Link in bio

Forgotten Corners of the World: Heidi Linck’s Enigmatic Works

Heidi Linck (@atelier_heidi_linck) is a multimedia artist based in the Netherlands. Her work explores the poetic dimension of neglected spaces and their capacity to convey a sense of loss while opening up potential forms of imagination. The encounter between collective and individual memory is expressed in both her works on paper and her photographs of models: the dark tones of her gouaches echo the somber atmosphere in which her sculptural objects are immersed.

Link in bio

Forgotten Corners of the World: Heidi Linck’s Enigmatic Works

Heidi Linck (@atelier_heidi_linck) is a multimedia artist based in the Netherlands. Her work explores the poetic dimension of neglected spaces and their capacity to convey a sense of loss while opening up potential forms of imagination. The encounter between collective and individual memory is expressed in both her works on paper and her photographs of models: the dark tones of her gouaches echo the somber atmosphere in which her sculptural objects are immersed.

Link in bio

Forgotten Corners of the World: Heidi Linck’s Enigmatic Works

Heidi Linck (@atelier_heidi_linck) is a multimedia artist based in the Netherlands. Her work explores the poetic dimension of neglected spaces and their capacity to convey a sense of loss while opening up potential forms of imagination. The encounter between collective and individual memory is expressed in both her works on paper and her photographs of models: the dark tones of her gouaches echo the somber atmosphere in which her sculptural objects are immersed.

Link in bio

Forgotten Corners of the World: Heidi Linck’s Enigmatic Works

Heidi Linck (@atelier_heidi_linck) is a multimedia artist based in the Netherlands. Her work explores the poetic dimension of neglected spaces and their capacity to convey a sense of loss while opening up potential forms of imagination. The encounter between collective and individual memory is expressed in both her works on paper and her photographs of models: the dark tones of her gouaches echo the somber atmosphere in which her sculptural objects are immersed.

Link in bio

Architecture as Described through Sight Lines: Hans Vredeman de Vries’ Perspective, 1604

Hans Vredeman de Vries (1527 – c. 1607) was a Renaissance architect from the Netherlands, best known for his printed works. In 1604, he published his most renowned tome, which offers a rich visual exploration of the possibilities of linear perspective in the depiction of architectural space, drawing inspiration from Serlio’s Seven Books of Architecture. The book, titled simply Perspective, is richly illustrated with various architectural scenes that both demonstrate the functioning of perspective in various spatial configurations and highlight the visual grids organising the images, including sight lines and vanishing points.

Read more on SOCKS

Architecture as Described through Sight Lines: Hans Vredeman de Vries’ Perspective, 1604

Hans Vredeman de Vries (1527 – c. 1607) was a Renaissance architect from the Netherlands, best known for his printed works. In 1604, he published his most renowned tome, which offers a rich visual exploration of the possibilities of linear perspective in the depiction of architectural space, drawing inspiration from Serlio’s Seven Books of Architecture. The book, titled simply Perspective, is richly illustrated with various architectural scenes that both demonstrate the functioning of perspective in various spatial configurations and highlight the visual grids organising the images, including sight lines and vanishing points.

Read more on SOCKS

Architecture as Described through Sight Lines: Hans Vredeman de Vries’ Perspective, 1604

Hans Vredeman de Vries (1527 – c. 1607) was a Renaissance architect from the Netherlands, best known for his printed works. In 1604, he published his most renowned tome, which offers a rich visual exploration of the possibilities of linear perspective in the depiction of architectural space, drawing inspiration from Serlio’s Seven Books of Architecture. The book, titled simply Perspective, is richly illustrated with various architectural scenes that both demonstrate the functioning of perspective in various spatial configurations and highlight the visual grids organising the images, including sight lines and vanishing points.

Read more on SOCKS

Architecture as Described through Sight Lines: Hans Vredeman de Vries’ Perspective, 1604

Hans Vredeman de Vries (1527 – c. 1607) was a Renaissance architect from the Netherlands, best known for his printed works. In 1604, he published his most renowned tome, which offers a rich visual exploration of the possibilities of linear perspective in the depiction of architectural space, drawing inspiration from Serlio’s Seven Books of Architecture. The book, titled simply Perspective, is richly illustrated with various architectural scenes that both demonstrate the functioning of perspective in various spatial configurations and highlight the visual grids organising the images, including sight lines and vanishing points.

Read more on SOCKS

Architecture as Described through Sight Lines: Hans Vredeman de Vries’ Perspective, 1604

Hans Vredeman de Vries (1527 – c. 1607) was a Renaissance architect from the Netherlands, best known for his printed works. In 1604, he published his most renowned tome, which offers a rich visual exploration of the possibilities of linear perspective in the depiction of architectural space, drawing inspiration from Serlio’s Seven Books of Architecture. The book, titled simply Perspective, is richly illustrated with various architectural scenes that both demonstrate the functioning of perspective in various spatial configurations and highlight the visual grids organising the images, including sight lines and vanishing points.

Read more on SOCKS

Architecture as Described through Sight Lines: Hans Vredeman de Vries’ Perspective, 1604

Hans Vredeman de Vries (1527 – c. 1607) was a Renaissance architect from the Netherlands, best known for his printed works. In 1604, he published his most renowned tome, which offers a rich visual exploration of the possibilities of linear perspective in the depiction of architectural space, drawing inspiration from Serlio’s Seven Books of Architecture. The book, titled simply Perspective, is richly illustrated with various architectural scenes that both demonstrate the functioning of perspective in various spatial configurations and highlight the visual grids organising the images, including sight lines and vanishing points.

Read more on SOCKS

Preserving Common Food as a Defensive Strategy: the Ghorfas of Southern Tunisia

The ghorfas (in arab غرفة [ghurfa], meaning “room”) are common granary chambers found mostly in southern Tunisia and certain areas of Libya and associated with Berber populations. In more recent times, they have also been used as dwellings. They consist of barrel-vaulted rooms measuring 4 to 5 metres in length and 2 metres in height, each with a single central door. They are usually stacked on top of one another and neatly arranged side by side, sometimes forming a common courtyard. They were generally built in the 14th century.
On the ground floor, the ghorfas sometimes housed caretakers along with animals such as camels, donkeys, or mules, while steep exterior stairs provided access to up to four levels of ghorfas used for storing food like cereals, dates, or animal products. Their large number is linked to the risk of extremely dry seasons. A single opening on each façade ensures ventilation.

Read more on SOCKS

Preserving Common Food as a Defensive Strategy: the Ghorfas of Southern Tunisia

The ghorfas (in arab غرفة [ghurfa], meaning “room”) are common granary chambers found mostly in southern Tunisia and certain areas of Libya and associated with Berber populations. In more recent times, they have also been used as dwellings. They consist of barrel-vaulted rooms measuring 4 to 5 metres in length and 2 metres in height, each with a single central door. They are usually stacked on top of one another and neatly arranged side by side, sometimes forming a common courtyard. They were generally built in the 14th century.
On the ground floor, the ghorfas sometimes housed caretakers along with animals such as camels, donkeys, or mules, while steep exterior stairs provided access to up to four levels of ghorfas used for storing food like cereals, dates, or animal products. Their large number is linked to the risk of extremely dry seasons. A single opening on each façade ensures ventilation.

Read more on SOCKS

Preserving Common Food as a Defensive Strategy: the Ghorfas of Southern Tunisia

The ghorfas (in arab غرفة [ghurfa], meaning “room”) are common granary chambers found mostly in southern Tunisia and certain areas of Libya and associated with Berber populations. In more recent times, they have also been used as dwellings. They consist of barrel-vaulted rooms measuring 4 to 5 metres in length and 2 metres in height, each with a single central door. They are usually stacked on top of one another and neatly arranged side by side, sometimes forming a common courtyard. They were generally built in the 14th century.
On the ground floor, the ghorfas sometimes housed caretakers along with animals such as camels, donkeys, or mules, while steep exterior stairs provided access to up to four levels of ghorfas used for storing food like cereals, dates, or animal products. Their large number is linked to the risk of extremely dry seasons. A single opening on each façade ensures ventilation.

Read more on SOCKS

Preserving Common Food as a Defensive Strategy: the Ghorfas of Southern Tunisia

The ghorfas (in arab غرفة [ghurfa], meaning “room”) are common granary chambers found mostly in southern Tunisia and certain areas of Libya and associated with Berber populations. In more recent times, they have also been used as dwellings. They consist of barrel-vaulted rooms measuring 4 to 5 metres in length and 2 metres in height, each with a single central door. They are usually stacked on top of one another and neatly arranged side by side, sometimes forming a common courtyard. They were generally built in the 14th century.
On the ground floor, the ghorfas sometimes housed caretakers along with animals such as camels, donkeys, or mules, while steep exterior stairs provided access to up to four levels of ghorfas used for storing food like cereals, dates, or animal products. Their large number is linked to the risk of extremely dry seasons. A single opening on each façade ensures ventilation.

Read more on SOCKS

Preserving Common Food as a Defensive Strategy: the Ghorfas of Southern Tunisia

The ghorfas (in arab غرفة [ghurfa], meaning “room”) are common granary chambers found mostly in southern Tunisia and certain areas of Libya and associated with Berber populations. In more recent times, they have also been used as dwellings. They consist of barrel-vaulted rooms measuring 4 to 5 metres in length and 2 metres in height, each with a single central door. They are usually stacked on top of one another and neatly arranged side by side, sometimes forming a common courtyard. They were generally built in the 14th century.
On the ground floor, the ghorfas sometimes housed caretakers along with animals such as camels, donkeys, or mules, while steep exterior stairs provided access to up to four levels of ghorfas used for storing food like cereals, dates, or animal products. Their large number is linked to the risk of extremely dry seasons. A single opening on each façade ensures ventilation.

Read more on SOCKS

Preserving Common Food as a Defensive Strategy: the Ghorfas of Southern Tunisia

The ghorfas (in arab غرفة [ghurfa], meaning “room”) are common granary chambers found mostly in southern Tunisia and certain areas of Libya and associated with Berber populations. In more recent times, they have also been used as dwellings. They consist of barrel-vaulted rooms measuring 4 to 5 metres in length and 2 metres in height, each with a single central door. They are usually stacked on top of one another and neatly arranged side by side, sometimes forming a common courtyard. They were generally built in the 14th century.
On the ground floor, the ghorfas sometimes housed caretakers along with animals such as camels, donkeys, or mules, while steep exterior stairs provided access to up to four levels of ghorfas used for storing food like cereals, dates, or animal products. Their large number is linked to the risk of extremely dry seasons. A single opening on each façade ensures ventilation.

Read more on SOCKS

From Videogame Landscapes to Embrodery Canvas: La Sentinelle by Marine Beaufils (2022-24)

Marine Beaufils ( @moonovermarine ) is a French embroidery artist whose meticulous work draws on the analogy between pixels and needlepoints, as she translates scenes from her favorite video games, movies, or scientific imagery from screen to embroidery canvas. This process freezes a fragment of a larger narrative, converting backlit scenes into a familiar medium that evokes a homey feeling and a vintage aura. The embroidered scenes thus bear an ambiguous quality as they appear suspended between a technological medium and an artisanal practice.

In 2022, she began work on La Sentinelle, a series of 14 pieces measuring 55×46 cm, completed in February 2024. Each needlepoint depicts a scene from the video game The Sentinel, created by Geoff Crammond in 1986, and is illuminated in two colors chosen from the game’s original eight-shade palette.

Read more on SOCKS

From Videogame Landscapes to Embrodery Canvas: La Sentinelle by Marine Beaufils (2022-24)

Marine Beaufils ( @moonovermarine ) is a French embroidery artist whose meticulous work draws on the analogy between pixels and needlepoints, as she translates scenes from her favorite video games, movies, or scientific imagery from screen to embroidery canvas. This process freezes a fragment of a larger narrative, converting backlit scenes into a familiar medium that evokes a homey feeling and a vintage aura. The embroidered scenes thus bear an ambiguous quality as they appear suspended between a technological medium and an artisanal practice.

In 2022, she began work on La Sentinelle, a series of 14 pieces measuring 55×46 cm, completed in February 2024. Each needlepoint depicts a scene from the video game The Sentinel, created by Geoff Crammond in 1986, and is illuminated in two colors chosen from the game’s original eight-shade palette.

Read more on SOCKS

From Videogame Landscapes to Embrodery Canvas: La Sentinelle by Marine Beaufils (2022-24)

Marine Beaufils ( @moonovermarine ) is a French embroidery artist whose meticulous work draws on the analogy between pixels and needlepoints, as she translates scenes from her favorite video games, movies, or scientific imagery from screen to embroidery canvas. This process freezes a fragment of a larger narrative, converting backlit scenes into a familiar medium that evokes a homey feeling and a vintage aura. The embroidered scenes thus bear an ambiguous quality as they appear suspended between a technological medium and an artisanal practice.

In 2022, she began work on La Sentinelle, a series of 14 pieces measuring 55×46 cm, completed in February 2024. Each needlepoint depicts a scene from the video game The Sentinel, created by Geoff Crammond in 1986, and is illuminated in two colors chosen from the game’s original eight-shade palette.

Read more on SOCKS

From Videogame Landscapes to Embrodery Canvas: La Sentinelle by Marine Beaufils (2022-24)

Marine Beaufils ( @moonovermarine ) is a French embroidery artist whose meticulous work draws on the analogy between pixels and needlepoints, as she translates scenes from her favorite video games, movies, or scientific imagery from screen to embroidery canvas. This process freezes a fragment of a larger narrative, converting backlit scenes into a familiar medium that evokes a homey feeling and a vintage aura. The embroidered scenes thus bear an ambiguous quality as they appear suspended between a technological medium and an artisanal practice.

In 2022, she began work on La Sentinelle, a series of 14 pieces measuring 55×46 cm, completed in February 2024. Each needlepoint depicts a scene from the video game The Sentinel, created by Geoff Crammond in 1986, and is illuminated in two colors chosen from the game’s original eight-shade palette.

Read more on SOCKS

From Videogame Landscapes to Embrodery Canvas: La Sentinelle by Marine Beaufils (2022-24)

Marine Beaufils ( @moonovermarine ) is a French embroidery artist whose meticulous work draws on the analogy between pixels and needlepoints, as she translates scenes from her favorite video games, movies, or scientific imagery from screen to embroidery canvas. This process freezes a fragment of a larger narrative, converting backlit scenes into a familiar medium that evokes a homey feeling and a vintage aura. The embroidered scenes thus bear an ambiguous quality as they appear suspended between a technological medium and an artisanal practice.

In 2022, she began work on La Sentinelle, a series of 14 pieces measuring 55×46 cm, completed in February 2024. Each needlepoint depicts a scene from the video game The Sentinel, created by Geoff Crammond in 1986, and is illuminated in two colors chosen from the game’s original eight-shade palette.

Read more on SOCKS

From Videogame Landscapes to Embrodery Canvas: La Sentinelle by Marine Beaufils (2022-24)

Marine Beaufils ( @moonovermarine ) is a French embroidery artist whose meticulous work draws on the analogy between pixels and needlepoints, as she translates scenes from her favorite video games, movies, or scientific imagery from screen to embroidery canvas. This process freezes a fragment of a larger narrative, converting backlit scenes into a familiar medium that evokes a homey feeling and a vintage aura. The embroidered scenes thus bear an ambiguous quality as they appear suspended between a technological medium and an artisanal practice.

In 2022, she began work on La Sentinelle, a series of 14 pieces measuring 55×46 cm, completed in February 2024. Each needlepoint depicts a scene from the video game The Sentinel, created by Geoff Crammond in 1986, and is illuminated in two colors chosen from the game’s original eight-shade palette.

Read more on SOCKS

From Videogame Landscapes to Embrodery Canvas: La Sentinelle by Marine Beaufils (2022-24)

Marine Beaufils ( @moonovermarine ) is a French embroidery artist whose meticulous work draws on the analogy between pixels and needlepoints, as she translates scenes from her favorite video games, movies, or scientific imagery from screen to embroidery canvas. This process freezes a fragment of a larger narrative, converting backlit scenes into a familiar medium that evokes a homey feeling and a vintage aura. The embroidered scenes thus bear an ambiguous quality as they appear suspended between a technological medium and an artisanal practice.

In 2022, she began work on La Sentinelle, a series of 14 pieces measuring 55×46 cm, completed in February 2024. Each needlepoint depicts a scene from the video game The Sentinel, created by Geoff Crammond in 1986, and is illuminated in two colors chosen from the game’s original eight-shade palette.

Read more on SOCKS

The Permanence of Form from Vernacular to Rationalism:
Giuseppe Pagano “Architettura Rurale Italiana” at the Milan Triennale (1936)

Giuseppe Pagano was a central figure in Italian architecture of the first part of the 20th century. Along with his practice as a rationalist architect and his political engagement, which led him to leave the Fascist Party, join the Resistance, and later be deported to Mauthausen, he devoted part of his life to documenting Italian rural architecture through the lens of his Rolleiflex.

In 1936, together with Guarniero Daniel, he curated the exhibition “Architettura Italiana Rurale” for the VI Milan Triennale exhibition, where he showcased a series of his pictures of Italian rural houses presented in grids of three by four and three by two in the catalogue. He documented various rural types found in different Italian regions to support his theory that rational architecture originated from vernacular architecture. A series of pictures exhibited about rural architecture in other countries were taken by other photographers and selected by Pagano and Daniel; they illustrated how the theory could be extended to other places.

Read more on SOCKS

The Permanence of Form from Vernacular to Rationalism:
Giuseppe Pagano “Architettura Rurale Italiana” at the Milan Triennale (1936)

Giuseppe Pagano was a central figure in Italian architecture of the first part of the 20th century. Along with his practice as a rationalist architect and his political engagement, which led him to leave the Fascist Party, join the Resistance, and later be deported to Mauthausen, he devoted part of his life to documenting Italian rural architecture through the lens of his Rolleiflex.

In 1936, together with Guarniero Daniel, he curated the exhibition “Architettura Italiana Rurale” for the VI Milan Triennale exhibition, where he showcased a series of his pictures of Italian rural houses presented in grids of three by four and three by two in the catalogue. He documented various rural types found in different Italian regions to support his theory that rational architecture originated from vernacular architecture. A series of pictures exhibited about rural architecture in other countries were taken by other photographers and selected by Pagano and Daniel; they illustrated how the theory could be extended to other places.

Read more on SOCKS

The Permanence of Form from Vernacular to Rationalism:
Giuseppe Pagano “Architettura Rurale Italiana” at the Milan Triennale (1936)

Giuseppe Pagano was a central figure in Italian architecture of the first part of the 20th century. Along with his practice as a rationalist architect and his political engagement, which led him to leave the Fascist Party, join the Resistance, and later be deported to Mauthausen, he devoted part of his life to documenting Italian rural architecture through the lens of his Rolleiflex.

In 1936, together with Guarniero Daniel, he curated the exhibition “Architettura Italiana Rurale” for the VI Milan Triennale exhibition, where he showcased a series of his pictures of Italian rural houses presented in grids of three by four and three by two in the catalogue. He documented various rural types found in different Italian regions to support his theory that rational architecture originated from vernacular architecture. A series of pictures exhibited about rural architecture in other countries were taken by other photographers and selected by Pagano and Daniel; they illustrated how the theory could be extended to other places.

Read more on SOCKS

The Permanence of Form from Vernacular to Rationalism:
Giuseppe Pagano “Architettura Rurale Italiana” at the Milan Triennale (1936)

Giuseppe Pagano was a central figure in Italian architecture of the first part of the 20th century. Along with his practice as a rationalist architect and his political engagement, which led him to leave the Fascist Party, join the Resistance, and later be deported to Mauthausen, he devoted part of his life to documenting Italian rural architecture through the lens of his Rolleiflex.

In 1936, together with Guarniero Daniel, he curated the exhibition “Architettura Italiana Rurale” for the VI Milan Triennale exhibition, where he showcased a series of his pictures of Italian rural houses presented in grids of three by four and three by two in the catalogue. He documented various rural types found in different Italian regions to support his theory that rational architecture originated from vernacular architecture. A series of pictures exhibited about rural architecture in other countries were taken by other photographers and selected by Pagano and Daniel; they illustrated how the theory could be extended to other places.

Read more on SOCKS

The Permanence of Form from Vernacular to Rationalism:
Giuseppe Pagano “Architettura Rurale Italiana” at the Milan Triennale (1936)

Giuseppe Pagano was a central figure in Italian architecture of the first part of the 20th century. Along with his practice as a rationalist architect and his political engagement, which led him to leave the Fascist Party, join the Resistance, and later be deported to Mauthausen, he devoted part of his life to documenting Italian rural architecture through the lens of his Rolleiflex.

In 1936, together with Guarniero Daniel, he curated the exhibition “Architettura Italiana Rurale” for the VI Milan Triennale exhibition, where he showcased a series of his pictures of Italian rural houses presented in grids of three by four and three by two in the catalogue. He documented various rural types found in different Italian regions to support his theory that rational architecture originated from vernacular architecture. A series of pictures exhibited about rural architecture in other countries were taken by other photographers and selected by Pagano and Daniel; they illustrated how the theory could be extended to other places.

Read more on SOCKS

The Permanence of Form from Vernacular to Rationalism:
Giuseppe Pagano “Architettura Rurale Italiana” at the Milan Triennale (1936)

Giuseppe Pagano was a central figure in Italian architecture of the first part of the 20th century. Along with his practice as a rationalist architect and his political engagement, which led him to leave the Fascist Party, join the Resistance, and later be deported to Mauthausen, he devoted part of his life to documenting Italian rural architecture through the lens of his Rolleiflex.

In 1936, together with Guarniero Daniel, he curated the exhibition “Architettura Italiana Rurale” for the VI Milan Triennale exhibition, where he showcased a series of his pictures of Italian rural houses presented in grids of three by four and three by two in the catalogue. He documented various rural types found in different Italian regions to support his theory that rational architecture originated from vernacular architecture. A series of pictures exhibited about rural architecture in other countries were taken by other photographers and selected by Pagano and Daniel; they illustrated how the theory could be extended to other places.

Read more on SOCKS

The Permanence of Form from Vernacular to Rationalism:
Giuseppe Pagano “Architettura Rurale Italiana” at the Milan Triennale (1936)

Giuseppe Pagano was a central figure in Italian architecture of the first part of the 20th century. Along with his practice as a rationalist architect and his political engagement, which led him to leave the Fascist Party, join the Resistance, and later be deported to Mauthausen, he devoted part of his life to documenting Italian rural architecture through the lens of his Rolleiflex.

In 1936, together with Guarniero Daniel, he curated the exhibition “Architettura Italiana Rurale” for the VI Milan Triennale exhibition, where he showcased a series of his pictures of Italian rural houses presented in grids of three by four and three by two in the catalogue. He documented various rural types found in different Italian regions to support his theory that rational architecture originated from vernacular architecture. A series of pictures exhibited about rural architecture in other countries were taken by other photographers and selected by Pagano and Daniel; they illustrated how the theory could be extended to other places.

Read more on SOCKS

The Permanence of Form from Vernacular to Rationalism:
Giuseppe Pagano “Architettura Rurale Italiana” at the Milan Triennale (1936)

Giuseppe Pagano was a central figure in Italian architecture of the first part of the 20th century. Along with his practice as a rationalist architect and his political engagement, which led him to leave the Fascist Party, join the Resistance, and later be deported to Mauthausen, he devoted part of his life to documenting Italian rural architecture through the lens of his Rolleiflex.

In 1936, together with Guarniero Daniel, he curated the exhibition “Architettura Italiana Rurale” for the VI Milan Triennale exhibition, where he showcased a series of his pictures of Italian rural houses presented in grids of three by four and three by two in the catalogue. He documented various rural types found in different Italian regions to support his theory that rational architecture originated from vernacular architecture. A series of pictures exhibited about rural architecture in other countries were taken by other photographers and selected by Pagano and Daniel; they illustrated how the theory could be extended to other places.

Read more on SOCKS

The Permanence of Form from Vernacular to Rationalism:
Giuseppe Pagano “Architettura Rurale Italiana” at the Milan Triennale (1936)

Giuseppe Pagano was a central figure in Italian architecture of the first part of the 20th century. Along with his practice as a rationalist architect and his political engagement, which led him to leave the Fascist Party, join the Resistance, and later be deported to Mauthausen, he devoted part of his life to documenting Italian rural architecture through the lens of his Rolleiflex.

In 1936, together with Guarniero Daniel, he curated the exhibition “Architettura Italiana Rurale” for the VI Milan Triennale exhibition, where he showcased a series of his pictures of Italian rural houses presented in grids of three by four and three by two in the catalogue. He documented various rural types found in different Italian regions to support his theory that rational architecture originated from vernacular architecture. A series of pictures exhibited about rural architecture in other countries were taken by other photographers and selected by Pagano and Daniel; they illustrated how the theory could be extended to other places.

Read more on SOCKS

“I called them Ghosts”. Sequences and Visual Poems by George Wylesol

George Wylesol is a Baltimore-based artist who primarily produces illustrations and comic-like sequences of drawings, often accompanied by written text in the form of short poems. His works blend mundane objects and settings with surreal plots and visual associations, resulting in poetic yet slightly disturbing scenarios. The meticulous attention to everyday objects translates into a celebration of found artefacts, revealing glimpses of past lives and obsolete technologies, abandoned houses, and empty corridors, sparsely populated by uncanny human figures.

Read more on SOCKS

All images © George Wylesol, courtesy of the artist

@wylesol_

“I called them Ghosts”. Sequences and Visual Poems by George Wylesol

George Wylesol is a Baltimore-based artist who primarily produces illustrations and comic-like sequences of drawings, often accompanied by written text in the form of short poems. His works blend mundane objects and settings with surreal plots and visual associations, resulting in poetic yet slightly disturbing scenarios. The meticulous attention to everyday objects translates into a celebration of found artefacts, revealing glimpses of past lives and obsolete technologies, abandoned houses, and empty corridors, sparsely populated by uncanny human figures.

Read more on SOCKS

All images © George Wylesol, courtesy of the artist

@wylesol_

“I called them Ghosts”. Sequences and Visual Poems by George Wylesol

George Wylesol is a Baltimore-based artist who primarily produces illustrations and comic-like sequences of drawings, often accompanied by written text in the form of short poems. His works blend mundane objects and settings with surreal plots and visual associations, resulting in poetic yet slightly disturbing scenarios. The meticulous attention to everyday objects translates into a celebration of found artefacts, revealing glimpses of past lives and obsolete technologies, abandoned houses, and empty corridors, sparsely populated by uncanny human figures.

Read more on SOCKS

All images © George Wylesol, courtesy of the artist

@wylesol_

“I called them Ghosts”. Sequences and Visual Poems by George Wylesol

George Wylesol is a Baltimore-based artist who primarily produces illustrations and comic-like sequences of drawings, often accompanied by written text in the form of short poems. His works blend mundane objects and settings with surreal plots and visual associations, resulting in poetic yet slightly disturbing scenarios. The meticulous attention to everyday objects translates into a celebration of found artefacts, revealing glimpses of past lives and obsolete technologies, abandoned houses, and empty corridors, sparsely populated by uncanny human figures.

Read more on SOCKS

All images © George Wylesol, courtesy of the artist

@wylesol_

“I called them Ghosts”. Sequences and Visual Poems by George Wylesol

George Wylesol is a Baltimore-based artist who primarily produces illustrations and comic-like sequences of drawings, often accompanied by written text in the form of short poems. His works blend mundane objects and settings with surreal plots and visual associations, resulting in poetic yet slightly disturbing scenarios. The meticulous attention to everyday objects translates into a celebration of found artefacts, revealing glimpses of past lives and obsolete technologies, abandoned houses, and empty corridors, sparsely populated by uncanny human figures.

Read more on SOCKS

All images © George Wylesol, courtesy of the artist

@wylesol_

“I called them Ghosts”. Sequences and Visual Poems by George Wylesol

George Wylesol is a Baltimore-based artist who primarily produces illustrations and comic-like sequences of drawings, often accompanied by written text in the form of short poems. His works blend mundane objects and settings with surreal plots and visual associations, resulting in poetic yet slightly disturbing scenarios. The meticulous attention to everyday objects translates into a celebration of found artefacts, revealing glimpses of past lives and obsolete technologies, abandoned houses, and empty corridors, sparsely populated by uncanny human figures.

Read more on SOCKS

All images © George Wylesol, courtesy of the artist

@wylesol_

90-Degree Axonometric’s by Auguste Merle (Late 19th – Early 20th C.)

Auguste Merle was an Art Brut artist living in France at the turn of the 19th and 20th centuries. His works depict imaginary buildings with meticulous detailing, using graphite on notebook paper.

The rigorous yet inventive forms are depicted in 90-degree axonometric projections.

Read on SOCKS

90-Degree Axonometric’s by Auguste Merle (Late 19th – Early 20th C.)

Auguste Merle was an Art Brut artist living in France at the turn of the 19th and 20th centuries. His works depict imaginary buildings with meticulous detailing, using graphite on notebook paper.

The rigorous yet inventive forms are depicted in 90-degree axonometric projections.

Read on SOCKS

90-Degree Axonometric’s by Auguste Merle (Late 19th – Early 20th C.)

Auguste Merle was an Art Brut artist living in France at the turn of the 19th and 20th centuries. His works depict imaginary buildings with meticulous detailing, using graphite on notebook paper.

The rigorous yet inventive forms are depicted in 90-degree axonometric projections.

Read on SOCKS

90-Degree Axonometric’s by Auguste Merle (Late 19th – Early 20th C.)

Auguste Merle was an Art Brut artist living in France at the turn of the 19th and 20th centuries. His works depict imaginary buildings with meticulous detailing, using graphite on notebook paper.

The rigorous yet inventive forms are depicted in 90-degree axonometric projections.

Read on SOCKS

“One Can No Longer Distinguish the Sun’s Outline”: Atlas of Clouds and of States of the Sky (1930)

A cloud atlas is a visual depiction of various types of clouds accompanied by their classification and nomenclature. Cloud atlases were primarily developed starting in the 19th century and utilised for training weather forecasters and meteorologists.

The 1930’s International Atlas of Clouds and of States of the Sky by the Office National Météorologique based in Paris provides a detailed textual description of different kinds of clouds, their shapes, the occurrences of the clouds, their behaviour, and a description of the disturbances the clouds indicate.

Read more on Socks: link in bio

“One Can No Longer Distinguish the Sun’s Outline”: Atlas of Clouds and of States of the Sky (1930)

A cloud atlas is a visual depiction of various types of clouds accompanied by their classification and nomenclature. Cloud atlases were primarily developed starting in the 19th century and utilised for training weather forecasters and meteorologists.

The 1930’s International Atlas of Clouds and of States of the Sky by the Office National Météorologique based in Paris provides a detailed textual description of different kinds of clouds, their shapes, the occurrences of the clouds, their behaviour, and a description of the disturbances the clouds indicate.

Read more on Socks: link in bio

“One Can No Longer Distinguish the Sun’s Outline”: Atlas of Clouds and of States of the Sky (1930)

A cloud atlas is a visual depiction of various types of clouds accompanied by their classification and nomenclature. Cloud atlases were primarily developed starting in the 19th century and utilised for training weather forecasters and meteorologists.

The 1930’s International Atlas of Clouds and of States of the Sky by the Office National Météorologique based in Paris provides a detailed textual description of different kinds of clouds, their shapes, the occurrences of the clouds, their behaviour, and a description of the disturbances the clouds indicate.

Read more on Socks: link in bio

“One Can No Longer Distinguish the Sun’s Outline”: Atlas of Clouds and of States of the Sky (1930)

A cloud atlas is a visual depiction of various types of clouds accompanied by their classification and nomenclature. Cloud atlases were primarily developed starting in the 19th century and utilised for training weather forecasters and meteorologists.

The 1930’s International Atlas of Clouds and of States of the Sky by the Office National Météorologique based in Paris provides a detailed textual description of different kinds of clouds, their shapes, the occurrences of the clouds, their behaviour, and a description of the disturbances the clouds indicate.

Read more on Socks: link in bio

“One Can No Longer Distinguish the Sun’s Outline”: Atlas of Clouds and of States of the Sky (1930)

A cloud atlas is a visual depiction of various types of clouds accompanied by their classification and nomenclature. Cloud atlases were primarily developed starting in the 19th century and utilised for training weather forecasters and meteorologists.

The 1930’s International Atlas of Clouds and of States of the Sky by the Office National Météorologique based in Paris provides a detailed textual description of different kinds of clouds, their shapes, the occurrences of the clouds, their behaviour, and a description of the disturbances the clouds indicate.

Read more on Socks: link in bio

“One Can No Longer Distinguish the Sun’s Outline”: Atlas of Clouds and of States of the Sky (1930)

A cloud atlas is a visual depiction of various types of clouds accompanied by their classification and nomenclature. Cloud atlases were primarily developed starting in the 19th century and utilised for training weather forecasters and meteorologists.

The 1930’s International Atlas of Clouds and of States of the Sky by the Office National Météorologique based in Paris provides a detailed textual description of different kinds of clouds, their shapes, the occurrences of the clouds, their behaviour, and a description of the disturbances the clouds indicate.

Read more on Socks: link in bio

Alain Biltereyst: Traces of Abstraction in the Urban Environment

Contemporary Belgian artist Alain Biltereyst works on abstract paintings characterized by bold patterns and colors. Most of the time, the shapes he depicts are not purely the result of chosen arrangements but act as a sort of "found art": they are extracted from existing signs, advertisements, commercial signage, graphic decorations on trucks, billboards, and streets.

These shapes silently inhabit our urban environment, possessing inherent graphical qualities, yet often going unnoticed as backgrounds to typographical signage and commercial messages. Biltereyst selects, isolates, and captures pictures of existing patterns that catch his eye during his day-to-day wanderings. He then carefully paints compositions inspired by his findings, mostly on small canvases.

@albilt

See more on Socks (link in bio)

Alain Biltereyst: Traces of Abstraction in the Urban Environment

Contemporary Belgian artist Alain Biltereyst works on abstract paintings characterized by bold patterns and colors. Most of the time, the shapes he depicts are not purely the result of chosen arrangements but act as a sort of "found art": they are extracted from existing signs, advertisements, commercial signage, graphic decorations on trucks, billboards, and streets.

These shapes silently inhabit our urban environment, possessing inherent graphical qualities, yet often going unnoticed as backgrounds to typographical signage and commercial messages. Biltereyst selects, isolates, and captures pictures of existing patterns that catch his eye during his day-to-day wanderings. He then carefully paints compositions inspired by his findings, mostly on small canvases.

@albilt

See more on Socks (link in bio)

Alain Biltereyst: Traces of Abstraction in the Urban Environment

Contemporary Belgian artist Alain Biltereyst works on abstract paintings characterized by bold patterns and colors. Most of the time, the shapes he depicts are not purely the result of chosen arrangements but act as a sort of "found art": they are extracted from existing signs, advertisements, commercial signage, graphic decorations on trucks, billboards, and streets.

These shapes silently inhabit our urban environment, possessing inherent graphical qualities, yet often going unnoticed as backgrounds to typographical signage and commercial messages. Biltereyst selects, isolates, and captures pictures of existing patterns that catch his eye during his day-to-day wanderings. He then carefully paints compositions inspired by his findings, mostly on small canvases.

@albilt

See more on Socks (link in bio)

Alain Biltereyst: Traces of Abstraction in the Urban Environment

Contemporary Belgian artist Alain Biltereyst works on abstract paintings characterized by bold patterns and colors. Most of the time, the shapes he depicts are not purely the result of chosen arrangements but act as a sort of "found art": they are extracted from existing signs, advertisements, commercial signage, graphic decorations on trucks, billboards, and streets.

These shapes silently inhabit our urban environment, possessing inherent graphical qualities, yet often going unnoticed as backgrounds to typographical signage and commercial messages. Biltereyst selects, isolates, and captures pictures of existing patterns that catch his eye during his day-to-day wanderings. He then carefully paints compositions inspired by his findings, mostly on small canvases.

@albilt

See more on Socks (link in bio)

Alain Biltereyst: Traces of Abstraction in the Urban Environment

Contemporary Belgian artist Alain Biltereyst works on abstract paintings characterized by bold patterns and colors. Most of the time, the shapes he depicts are not purely the result of chosen arrangements but act as a sort of "found art": they are extracted from existing signs, advertisements, commercial signage, graphic decorations on trucks, billboards, and streets.

These shapes silently inhabit our urban environment, possessing inherent graphical qualities, yet often going unnoticed as backgrounds to typographical signage and commercial messages. Biltereyst selects, isolates, and captures pictures of existing patterns that catch his eye during his day-to-day wanderings. He then carefully paints compositions inspired by his findings, mostly on small canvases.

@albilt

See more on Socks (link in bio)