{"id":4333,"date":"2012-10-02T23:43:35","date_gmt":"2012-10-03T04:43:35","guid":{"rendered":"http:\/\/fredhatt.com\/blog\/?p=4333"},"modified":"2014-12-14T19:27:38","modified_gmt":"2014-12-15T00:27:38","slug":"urb-ab","status":"publish","type":"post","link":"https:\/\/fredhatt.com\/blog\/2012\/10\/02\/urb-ab\/","title":{"rendered":"Urb Ab"},"content":{"rendered":"
\"\"<\/a>

Angular Composition, 2012, photo by Fred Hatt<\/p><\/div>\n

In drawing and painting I’m a realist, but in photography I lean towards abstraction. \u00a0I’m always looking for patterns that, put in a frame, become abstract paintings or sculptures. \u00a0It’s about striking patterns in shape, light, texture, or color, unusual simplicity or complexity, striking juxtapositions, or pictorial elements such as linearity or dynamic asymmetry occurring in the real world. \u00a0I have no need to go anywhere exotic to find such pictures. \u00a0They are everywhere around me in the busy city, and I only need the eye to spot them and a camera to collect them. \u00a0Here I’ll share a selection of finds, all photographed in the calendar year 2012 in New York City.<\/p>\n

\"\"<\/a>

Collision of Architectures, 2012, photo by Fred Hatt<\/p><\/div>\n

The details of old buildings are, of course, deliberate sculpture, but they can look different framed in context or removed from context and scale.<\/p>\n

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Architectural Ornament, 2012, photo by Fred Hatt<\/p><\/div>\n

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Spring at the Museum, 2012, photo by Fred Hatt<\/p><\/div>\n

The structures of classical architecture stand in harmonious relation to biological nature. \u00a0Modern architecture is more concerned with physics: light and space.<\/p>\n

\"\"<\/a>

Passageway, 2012, photo by Fred Hatt<\/p><\/div>\n

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Tile Counter, 2012, photo by Fred Hatt<\/p><\/div>\n

Light is the magic ingredient of architecture, the special sauce that turns the most solid material and form into protean imagery.<\/p>\n

\"\"<\/a>

Aluminum Panels, 2012, photo by Fred Hatt<\/p><\/div>\n

\"\"<\/a>

Urban E, 2012, photo by Fred Hatt<\/p><\/div>\n

Things that are more or less fixed exist in constant relation to things that are always changing.<\/p>\n

\"\"<\/a>

Curtain, 2012, photo by Fred Hatt<\/p><\/div>\n

\"\"<\/a>

Fence Holes, 2012, photo by Fred Hatt<\/p><\/div>\n

It is the negative space, the holes in things and the gaps between things, that give form and meaning to matter.<\/p>\n

\"\"<\/a>

Flagpole, 2012, photo by Fred Hatt<\/p><\/div>\n

\"\"<\/a>

Glancing Light, 2012, photo by Fred Hatt<\/p><\/div>\n

People design things, but the ideas of the mind have a certain rigidity. \u00a0Chaos adds its wildness, and brings them to life.<\/p>\n

\"\"<\/a>

Lines Against the Sky, 2012, photo by Fred Hatt<\/p><\/div>\n

\"\"<\/a>

BS, 2012, photo by Fred Hatt<\/p><\/div>\n

Even light that is built rarely remains under tight control.<\/p>\n

\"\"<\/a>

Water Wall, 2012, photo by Fred Hatt<\/p><\/div>\n

\"\"<\/a>

Architectural Office, 2012, photo by Fred Hatt<\/p><\/div>\n

Look behind any surface and see further layers.<\/p>\n

\"\"<\/a>

Diagonal Grid, 2012, photo by Fred Hatt<\/p><\/div>\n

\"\"<\/a>

Bright and Dark, 2012, photo by Fred Hatt<\/p><\/div>\n

Mercury cycles quickly, and Saturn cycles slowly. \u00a0The world is cycles upon cycles upon cycles, all possible wavelengths combined.<\/p>\n

\"\"<\/a>

Fountain, 2012, photo by Fred Hatt<\/p><\/div>\n

\"\"<\/a>

Rusted Chair, 2012, photo by Fred Hatt<\/p><\/div>\n

Time makes a simple metal chair into a fractal forest.<\/p>\n

The row of pinstriped buildings below seems at first glance a procession of uniform monoliths, but closer inspection shows that no \u00a0lines align perfectly. \u00a0This row is crooked like\u00a0“yaeba” teeth<\/a>.<\/p>\n

\"\"<\/a>

Avenue of the Americas, 2012, photo by Fred Hatt<\/p><\/div>\n

\"\"<\/a>

Orange and Green, 2012, photo by Fred Hatt<\/p><\/div>\n

\"\"<\/a>

Gratings in Headlights, 2012, photo by Fred Hatt<\/p><\/div>\n

Light and color make the dullest things dynamic, when you look at the light and color rather than at the things.<\/p>\n

\"\"<\/a>

Service Station, 2012, photo by Fred Hatt<\/p><\/div>\n

\"\"<\/a>

Six Eighty One, 2012, photo by Fred Hatt<\/p><\/div>\n

Contrasting qualities, rectilinear and organic, luminous and shadowy, exist in mutual distinction.<\/p>\n

\"\"<\/a>

Sharp and Soft, 2012, photo by Fred Hatt<\/p><\/div>\n

\"\"<\/a>

“21”, 2012, photo by Fred Hatt<\/p><\/div>\n

Complexity emerges. \u00a0Simplicity distills.<\/p>\n

\"\"<\/a>

Iron Bench, 2012, photo by Fred Hatt<\/p><\/div>\n

\"\"<\/a>

Luminous Gap, 2012, photo by Fred Hatt<\/p><\/div>\n","protected":false},"excerpt":{"rendered":"

In drawing and painting I’m a realist, but in photography I lean towards abstraction. \u00a0I’m always looking for patterns that, put in a frame, become abstract paintings or sculptures. \u00a0It’s about striking patterns in shape, light, texture, or color, unusual simplicity or complexity, striking juxtapositions, or pictorial elements such as linearity or dynamic asymmetry occurring […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_feature_clip_id":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":false,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2},"jetpack_post_was_ever_published":false},"categories":[193],"tags":[33,123,82,27],"class_list":["post-4333","post","type-post","status-publish","format-standard","hentry","category-photography-structure","tag-abstract","tag-landscape","tag-nyc","tag-urban-landscape"],"yoast_head":"\nUrb Ab - 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