Czlowiek Kamera is not this photographer’s real name. In Russian the name means ”human-cam” or “cam-man,” and was sourced from Vertov’s “Man with a Movie Camera.” This human-mechanical fusion can be identified throughout Kamera’s compositions, at least in the way he fuses his human subjects with the camera’s manipulation of them. His photographs are surreal and mystical, and remind me a bit of Kyle Thompson’s aesthetic. Kamera specializes in recording live music performances, including artists Sigur Rós and Fever Ray. Check out his Flickr for more photos.
Lorna Barnshaw likes to experiment with digital renderings of human faces. In her series of 3D art prints Replicants, Barnshaw used a different computer, software, application, and printing method with minimal interference with each computer’s rendering. The results are geometric, cubed, and warped mask-like representations of the human face. Complementary to this work, Barnshaw’s gif series Reality Reduction, depicts human figure images reduced to their basic geometry using a digital filter. Together these series engage us with their reflections on technological influences in contemporary culture.
No matter the type of installation Guiseppe Licari creates, he seeks to encourage direct public engagement in one way or another. For some of his work, he brings natural elements into the gallery space, while other work takes the form of public art. Obviously, most of Licari’s installations should be experienced firsthand, like his ongoing community dinner project Spaghetti Forever, an interactive swing-set Serial Swing, a mobile Illegal Busstop, or his education horticulture workshop, Hortus Publicus. Licari’s work is concerned with creating spaces of engagement that reference nature and the built environment. He lives and works in Rotterdam.
Filmmaker Dave Altizer’s short mini-documentary Porcelainia features Bobby Jaber, an educator, scientist, and artist. After Jaber retired from teaching chemistry, he was able to focus his energies on porcelain work, specifically geometric designs based on molecular shapes. Jaber’s approach to his work is inspired by his scientist/artist predecessors, most notably Buckminster Fuller, inventor of the geodesic dome. Though he’s had a little financial success with some of his work, Jaber is clearly motivated by love and dedication to his craft. Be sure to stick around after the credits to catch Jaber’s priceless reaction to current technology.
Los Carpinteros is an art collective founded in 1991 in Havana, Cuba. They create small and large scale installations that reflect perversions of common, everyday objects. These objects are bent, twisted, de- and re-formed, creating abstract work with recontextualized boundaries. The artists deconstruct these simple forms in order to complicate our experience of them. Stable forms become chaotic, erratic, and fragmented through Los Carpinteros’ manipulation of them, ultimately representing a subversion of structure that transcends the domestic or personal.
Swedish artist Johan Andersson creates hyperrealistic oil paintings that depict subjects who are socially vulnerable, be it politically, economically, or physically. These subjects are often largely dismissed or ignored, rendered almost invisible by mainstream society and culture. Andersson’s portraits capture the beauty and strength borne from this vulnerability, asking the viewer to question representations and relationships of identity across a spectrum of marginalization. Andersson currently lives in Los Angeles.
For Translated Vase, Korean artist Yeesookyung assembles broken and discarded pieces of ceramics into new and contemporary work. According to Yeesookyung, about 70% of ceramic work does not reach the perfectionist standards of many ceramic professionals and masters. From this ceramic trash, she puts these broken pieces together as if she’s assembling a jigsaw puzzle, finding pieces that seem to connect from disparate shards, then covering the seams with 24 carat gold leaf. “While the use of gold lacquer is seemingly related to Japanese traditions of mending ceramics known as kintsugi 金継ぎ for Yeesookyung her choice of gold is based on the Korean homophone of “gold” (geum) and “crack” (geum). She observes, ‘I wanted to add a sense of humor to my work by filling geums (cracks), which are considered as defects, with a valuable material, such as real geum (gold).’” (via)
Torafu Architects has installed an interactive haunted playhouse in the Museum of Contemporary Art in Tokyo. Paintings move, portrait eyes dart back and forth, and children climb through picture frames installed at the museum. A secret passageway exists within the installation, allowing children to interact with nearly all of the featured art, most of them re-creations of classic works. Museums and galleries are usually places reserved for more serious contemplative reflection, discouraging touching and interaction of any kind. Torafu Architects has transformed this perception, creating a space that encourages engagement and creativity. Be sure to check out our previous post about Torafu’s kid-friendly designer information kiosk here.