French photographer William Farges‘ series “White Line” features surreal reflections of body angles, parts, and positions. Farges creates new shapes and figures by placing the reflections of nude bodies side by side, representing a continuity of form that is both startling and elegant. The series is, of course, named for the white line that dissects his diptychs – an element that emphasizes the new forms’ symmetry as a product of an inversion. These forms reach and pull into each other, appearing as if each could disappear into the other. Farges’ images are Rorschach-like deconstructions that are smooth and round and contained. “White Line” is the result of another series of Farges that similarly deconstructs and reimagines the human form, “Chimera.” (via feature shoot)
Artist Ron English is best known for his bright and playful pop culture aesthetic, and a blending of high and low art cultures, something he refers to as “popaganda.” A multitude of characters and references populate his works, and it’s this accessibility that lends his work its effectiveness. One particular painting – Picasso’s Guernica – represents a modern template for English that he has interpreted over 50 times, and English approaches each interpretation aware and reverent of the original’s cultural significance.
English writes, “[Guernica] is a visual shorthand for the overwhelming and gratuitous horror of modern war. But I argue that the cultural takeaway of Guernica is actually the opposite. It transforms incomprehensible tragedy into a cartoon narrative, something we can more easily absorb. This is part of the human process, to distance ourselves from the immediacy of undiluted, overwhelming emotions by overlaying a narrative that simplifies, and in effect, takes us down from three to two dimensions. And this is the underlying concept that I grapple with in all my many versions of Guernica.”
English’s approach to the Guernica template resonates throughout much of his work; the artist often interprets our visually-saturated cultures, recontextualixing familiar imagery in order to critique or present ideas that can be more easily absorbed. In order to capture particular lighting and angles, English constructs 3D models of some his concepts before painting them. While each interpretation is unique in its imagery, English admits he’s “…always riffing on the same basic message — that cultural bias is embedded in our narrative. [His] Guernicas call attention to the product placement of global corporate culture, using war as entertainment and entertainment as war.” (via huffington post)
German photographer Thomas Kellner‘s contact sheet photo montages deconstruct iconic architectural landmarks and cityscapes. Each of Kellner’s frames are shot sequentially, then printed in the film’s exact order – no cut/paste or digital manipulation – before strips are cut and then placed together. Each final contact sheet montage’s size depends on how much film Kellner uses for his subject – with one roll of film, the montages are only 20 x 24 cm. Kellner first began descontructing architecture using the contact sheet method in 1997, and since 2003, has been photographing and decontructing buildings around the world.
Of his work, Kellner says, “I think I am more of an artist than a photographer. At the moment I am working on architecture, but it is not classic architectural photography. There are definitions in art about ‘construction/deconstruction’ or ‘collage/decollage,’ but I don’t think any of it really fits what I am doing right now, maybe my work is closer to conceptual art or conceptual photography. Many have said it is ‘very Germany,’ and that might be closer.” (via art chipel)
In 2011, Google launched Art Project in order to provide comprehensive, virtual tours of the spaces and artifacts of the world’s art museums and galleries. This requires Google’s robotic camera trolleys to roam museums taking 360 degree panoramic shots of every room they’re documenting. Since May, Barcelona-based artist Mario Santamaría has been collecting striking images of these cameras’ mirror selfies via a Tumblr page. In some of the images, the cameras don silvery-white blankets – this effect, combined with our culture’s immersion in selfies, renders these cameras almost familiar and comfortable, but startling in its reflection of itself and selfie culture. These museums and galleries are, for the most part, emptied of people, the camera eerily alone in its self-documentation. (via booooooom)
Martin Klimas is no stranger to meticulously timed photography. From his speaker-induced dancing paint splatters to his shattered blooms and vases, Klimas’ work captures moments in time that record a disruption of order. Klimas’ porcelain action figures are dropped from a height of about 10 feet, and it’s the sound of the figurines crashing that triggers the high-speed camera’s shutter release. This methodology results in images that represent a temporary, dynamic moment in time that becomes a permanent, static image through the art of photography. Klimas’ figurines appear to be engaged in aggresive battle, each shattering figure creating a narrative made possible from a singular image. Mid-destruction, these figurines convey a strong power and energy that couldn’t be perceived pre- or post-destruction. (via juxtapoz)
Published in 2009, The Red Book contains Jung’s self-explorations, representing the source of many of Jung’s theories regarding the collective unconscious, archetypes, psychological types, and the process of individuation. “The overall theme of the book is how Jung regains his soul and overcomes the contemporary malaise of spiritual alienation. This is ultimately achieved through enabling the rebirth of a new image of God in his soul and developing a new world view in the form of a psychological and theological cosmology.” Accompanying the calligraphy of Jung’s text are incredibly controlled surreal illustrations of psychologically and spiritually thematic images.
Art critic and Huffington Post contributor Peter Frank considers The Red Book a great work of art, writing, “It is an endlessly fascinating and staggeringly luxurious artifact, a thing of beauty and of magic. It could pass for a Bible rendered by a medieval monk, especially for the care with which Jung entered his writing as ornate Gothic script. It just happens that his art is dedicated not to the glory of God or king, but to that of the human race.” Frank also identified the presence of a small egg within every image included in The Red Book, explaining that “the egg starts to give off light and then to explode out.”
Jung writes at one point in The Red Book, “There is only one way, and that is your way. You seek the path? I warn you away from my own. It can also be the wrong path for you. May each go his own way. I will be no savior, no lawgiver, no master teacher unto you. You are no longer little children. … May each seek out his own way. The way leads to mutual love in community. Men will come to see and feel the similarity and commonality of their ways.” You can read the entirety of The Red Book as an ebook over at the Internet Archive. (via npr and independent)
Fractals are a geometric concept and mathematical set that represent repeating patterns, also known as self-similarity. Scotland-based physicist and artist Tom Beddard, aka subBlue, who we have previously featured for his generative graphic work, has recently been creating 3D geometric fractal designs that he refers to as “Fabergé Fractals” because of the detailed and ornate patterns that are rendered by the artist’s formulaic methods. At first glance, Beddard’s designs appear to be fully realized, physical forms due to the intricacies of the patterns and the technical skill that is applied to each generation.
Beddard explains, “The 3D fractals are generated by iterative formulas whereby the output of one iteration forms the input for the next. The formulas effectively fold, scale, rotate or flip space. They are truly fractal in the fact that more and more detail can be revealed the closer to the surface you travel.
“The fascinating aspect is where combinations of parameters can combine to create structural ‘resonances’ of extraordinary detail and beauty—sometimes naturally organic and other times perfectly geometric. But then like a chaotic system it can completely disappear with the smallest perturbation.” (via my modern met)