San Francisco based photographer Rob Prideaux’s exquisitely shot images of smoke and fire are a perfect example how a very simple subject manner can be pushed to a new level of creativity. Setting out to explore the aesthetics of smoke and fire Prideaux chose to minimally retouch the photos of fire and create heavily retouched patterned imagery out of the smoke. The result is triumph of aesthetic beauty, fires magnificence, and the intangible allure of smoke as it appears and disappears into the air in a matter of seconds. (via)
Paintings and drawings by Emily Burns.
“My recent work references a variety of artistic techniques and influences from traditional oil painting and modern digital photography to the iconography of ancient Egypt , the American pin-up and nineteenth-century taxidermy. In this group of work, I seek to chronicle the relationship between the genesis of female icon objectification and its historical development. These works describe the psychological juxtaposition between the inherent urge to exploit one’s own short-lived youth and the pressures of adhering to social expectation. I explore the push and pull of these two concepts, asking how they have affected the female psyche and as well as how society has actively created its own vision of the idealized female.
My source material includes a range of visual elements, attempting to portray diverse visualized vernaculars, both past and present, into single compositions. My centralizing of the female figure illustrates the tensions and conflicts between the power of their beauty and strength of their character, as well as their inevitable vulnerability. Historically, artists have exploited the tradition of realistic oil portraiture not only to create a likeness, but also to embody the essential character of the subject. My paintings reconcile traditional portraiture with the more modern idea of an active subject, depicted not solely based upon her social status, but immortalized for her beauty and appeal. Similarly, the inclusion of taxidermied trophy animal heads alludes to the vulnerability of a creature that is prized for its beauty, complicating the notion of power attributed to the anthropomorphized deities of the ancient Egyptians. Finally, the figures are foregrounded against fragmented views of digital interruption and pixilation, serving to remind one of how computerized communication has profoundly affected how we reimagine the female form.”
As part of our ongoing partnership with Feature Shoot, Beautiful/Decay is sharing Alison Zavos’ piece on photographer Clay Lipsky.
“I was raised during the height of the Cold War, when the threat of nuclear war loomed between two superpowers. The dramatized depictions in TV and film of such an apocalyptic demise both intrigued and scared me as a child. Yet the actual historical record of the atomic age was full of antiquated, black and white images that seemed dated and a world away.
This series, Atomic Overlook, recontextualizes a legacy of atomic tests in order to keep the reality of our post-atomic era fresh and omnipresent. It also speaks to the current state of the world and the voyeuristic culture we live in.
Imagine if the advent of the atomic era occurred during today’s information age. Tourists would gather to view bomb tests, at the “safe” distances used in the 1950’s, and share the resulting cell phone photos online. Broadcast media would regurgitate such visual fodder ad nauseum, bringing new levels of desensitization.
The threat of atomic weapons is as great as ever, but it is a hidden specter. Nuclear proliferation has gained even more obscurity through the “rogue” factions that can now possess them. Meanwhile America’s stockpile of weapons continues to be modernized and will probably never cease to exist. I can only hope that mankind will never again suffer the wrath of such a destructive force, but it is clear that the world would not hesitate to watch.”
Clay Lipsky is a fine art photographer & graphic designer based in Los Angeles. His photos have been exhibited in various group shows, including those at the Annenberg Space for Photography, MOPLA, Pink Art Fair Seoul, PhotoPlace and Impossible Project NYC.
Lee Materazzi uses her body to manipulate her photographs (as opposed to giving in to digital manipulation). In her newest series she explores the thin line between finding oneself and losing oneself. She references artists like Charles Ray and Anna Mendieta as she “attempts to achieve a resolution of the body’s role within contemporary art.”
Everyone love a cute photo of a dog but London based Tim Flach’s dog photographs show mans best friend in a completely new light. Bringing the viewer into close-up proximity with their animal subjects, painstakingly lit, carefully cropped for maximum graphic impact and animated by telling gestures, these photographs place us in an intimate relationship with their protagonists. They are far removed from wildlife photography’s documentary images of animals observed in their natural habitat. In fact, the treatment accorded to these particular creatures is not dissimilar from close encounters with individuals that are the stuff of human portraiture.
Native Los Angeleno Hugh Kretschmer is one of those rare photographers who has the ability to completely transform a commercial ad campaign or editorial piece into a magical story that will move you. Using metaphor and hand crafted trick-the-eye elements he transports us to surreal narratives full of humor and intriguing mystery where anything can happen.
Dutch painter Joram Roukes’ large scaled oil paintings of collaged images bring together moments of abstraction, figuration, and pop iconography together to create dynamic mutating and morphing figures. His imagery refers to the moral dilemmas one may find himself in, viewing today’s western society. Through experience by participation Joram Roukes reflects not necessarily on an opinion on society’s flaws in his work, but rather observes and reports on typical western phenomena, leaving judgement up to the viewer, who thereby, establish their own position in these matters. (via)