Transcend

The Frozen Waterfalls of Plitvice Lakes by Tóth Tamás

In the words of the artist Tóth Tamás:

I recently went on a short, spontaneous photography trip. Three of my friends and I departed our hometown of Budapest and headed for one of Croatia’s largest National Parks surrounding the Plitvice Lakes.The total area of the National Park is 295 km2, and the surface area of the lakes is 2 km2. There are sixteen lakes positioned in a North - South direction, stretching out in a garland shape, situated in the Kapela Mountains. Over millions of years, the Korana Creek has carved a deep valley into the Southern, limestone areas of the mountain, strongly characterized by karst processes.

The formation of the Plitvice Lakes was also the result of these transformations. The limestone creates dykes, sills and other structures in the karst rivers and streams. (Contrary to typical hot water formations, limestone tufa precipitates out of cold water here). The lakes’ extreme blue color is the result of this karst occurrence.Limestone formation is a continuous process by which various waterfalls are formed. Over time, the water changes its bed, leaving its former direction dry, and in turn raising new formations elsewhere. We could say, Plitvice is never the same as before.

We practically hiked the entire area struggling with the cold and half a meter of snow. A few of my photos from the tour below.

“Candle”, a piece about the feeling of raw power before a storm

Acrylic painting

The paintings of  Gustavo Díaz Sosa (b. Cuba, 1983)

Convey his perception of The State, The Power, and anything that involves human submission. More than serve as a social or explicit protest manifesto, Díaz Sosa’s paintings are an existential projection of our looming future, in light of modern history.

In his pieces, Díaz Sosa articulates a lost, anonymous, global, surrendered, and desperate society amid a system which presumes to exist as a Democracy. His characters run aimlessly, looking only for doors or ways past the monumental walls that keep them trapped in their worlds of bureaucratic and established rules. Like sheep they walk in flocks trying to save themselves from the others. This is why Díaz Sosa creates these compositions where the man is miniaturized in front of the laws and the legends implanted in the roots of the human nature. Religion, myths, politics: these are all tools to remember how fragile the human is in the face of Power.

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