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Jonny Sutton’s Photos Allude To Themes Of Pornography And Memory

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English photographer Jonny Sutton creates subtle but powerfully symbolic photography that alludes to various themes including the quotidian, sexual experiences, and memory.

Athough Sutton is interested in depicting scenes that are familiar to past personal recollections, the haziness and [sometimes] cinematic feel of his compositions make the viewer feel disjointed and distant to what they may otherwise feel very familiar with. Sutton’s recent series, Remains and Pornography, explore the memory of sexual experience through objects and familiar scenes that may trigger flashbacks to ones own past regarding sexual involvements.

Remains focuses on sex and the relationship it has with our surroundings. His photographs record the aftermath of a night of passion. By photographing what is left behind, the artist creates an interesting narrative that again brings the viewers to remember with hazy and distant thoughts.

His other series, Pornography, explores the themes of sexual documentation, pornographic films and violence, and the sexualization of children. In this case, Sutton uses a Barbie Doll and manipulates it in a way that presents the viewer with subtle, but obvious sexual positions. The artist’s prop here works as both the subject of his composition but also as a very important part of his concept and main messege. The dolls’ body, identifiable with the female form and a child’s innocence, is easily taken and manipulated to reenact sexual positions. This might be a reference to rape or a man’s power over a woman/child, however, its meaning is unclear and not explained by the artist himself. Nonetheless, it is certainly a logical conclusion to come to. Moreover, Sutton’s way of blurring the images leaves the spectator to witness a sequence of events that are blocked off and partially remembered [on behalf of whom is theoretically experiencing that manipulation,etc]. On the other hand, from an outsiders’ perspective, we acknowledge that the intrusiveness of the camera, or our gaze, in this case, is what makes the work the ultimate source of manipulation.

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Two Rabbits 4th Of July Open Studio Sale

 

Our good buddies over at Two Rabbit Studios is having a big ol’ 4th of July print sale and BBQ. Go hang with them, listen to some good music, get some food, and most importantly get some amazing prints and posters for your walls at a fraction of the price!

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Penny Byrne Is A Ceramics Conservator Who “Damages” Ceramics

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Penny Byrne transforms vintage porcelain figures and other found objects into work that makes a humorous or political statement. Though the themes of her work are dark and heavy, the lightness and treatment of the porcelain contrasts this, formulating a new perception of these themes. As a respected ceramic conservator and restorer, she claims that what she is doing with these “sacrosanct” found figures is quite inappropriate with respect to her field of work. Byrne lives and works in Melbourne, Australia.

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Lukasz Wierzbowski’s Playful Interactions

Lukasz Wierzbowski is a freelance photographer from Wroclaw, Poland. His photographs exude youthful energy and a sense of humor. With a keen eye for composition and a love for nature his work often features a figure playfully interacting with an environment. The result is a body of work that serves as pictorial allegories involving our relationship with the world around us.

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High Tech Work Out

Equinox iPhone app
The iPhone has made everyone’s life more convenient than ever. Whether you’re hungry, want to see a movie or you’re wondering what other films Spike Jones has directed, it’s all a click away.

Equinox is right there with you. Their new iPhone app goes beyond finding a class and the nearest location; it also helps Equinox members set and track fitness goals, offers playlists to fit their moods, lets members book a bike and even creates a personalized calendar of all workouts, favorite classes and instructors.

Equinox has a team of designers dedicated to developing a richer experience for their members, both in-house, online and on your phone with continually updated technology.

Any gym that is this committed to making it easier for you to work out is worth checking out. Equinox has teamed with Beautiful/Decay to offer our readers a 3-day trial pass to experience the Equinox near you.

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Calamityware Combines Delicate Porcelain And Monster Attacks

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Made popular by the dinnerware imported by England from China during the 18th century, Willow pattern is a distinctive and delicate pattern. And probably the last place you would expect to see alien invasions, giant robots attacking cities and pterodactyls. Graphic designer and draughtsman Don Moyer started with a fairly basic premise, “I love to draw. The drawings I like best are those that make me laugh. Several years ago, I started drawing Calamityware —traditional willow-pattern dinner plates with a tranquil scene threatened by impending calamity.” Funded by a successful Kickstarter to realize his whimsical drawings into actual dinnerware, Moyer has realized his dream of correcting an ancient problem, that “too many plates have been too boring for too long.”If it all seems light-hearted, it really is. Moyer’s drawings retain the traditional line quality and palette of their inspiration, but add in sinking ships, flying monkeys, and villages on fire. These drawings are then transferred to blank plates and fired to set the illustrations. Definitely beats your grandmother’s antique china if laughter is what you are after.  (via mymodernmet)

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Wieki Somers comes clean

664_1230668282Come Clean is… a tulip scented soap by Wieki Somers. “A juxtaposition of forms which represent the old and new Holland…the traditional image disappears (soap) and the reality appears (porcelain).” Via wiekisomers.com I’m assuming these wouldn’t work as well as wooden clogs and wheels of cheese.

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LAURA SWANSON’s FAcial Splices

Laura Swanson’s “Splices” series mixes and matches various parts of two peoples faces to splice together the “perfect” face.

“Splices” recognizes an absurdity in comparing overt physical differences. I am fascinated with a contemporary phenomenon: overindulgent, politically correct driven behavior of pointing out obvious differences to avoid seeming ignorant or biased. Often, this ends up as condescending towards the person who is the “different” one. In “Splices”, it is apparent the eyes are not the subject’s, but what is it about a blunt splice that makes one so quick to notice or point out the obvious difference? Ultimately, I am interested in the idea that something can become too different to bear – to the degree where one cannot refrain from pointing it out. -Laura Swanson

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