Decadent desserts are paired with sexy legs in Argentinian-based artist Camila Valdez’s series of life and table-sized sculptures. The faceless beings are placed in public and are posed on benches, seen exiting restaurants, and enjoying a picnic in the park. Despite the fact they can’t convey emotion through eyes or a mouth, Valdez has made their legs expressive. They are straight and together if trying to look pensive, or partially open as if trying to suggest something else.
This series literally objectifies women and compares them to a sugary treat that will rot your treat and should be enjoyed only every-so-often. At the same time, they reference outdated objects from the middle of the 20th century, where legs were attached to things like lamps (as seen in the film A Christmas Story). Valdez pokes fun at this absurd and fantastical objectification of the population. (Via HiFructose)
In photographer Randy Scott Slavin’s series, Alternative Perspectives, he takes ordinary landscapes and turns them into topsy-turvy, mind-bending sights. At any moment, these panoramic shots make the world appear like it’s going to fold in on itself. Slavin captures all types of terrain, including the red rocks of the Phoenix desert, the beaches in Miami, and the skyscrapers of New York City. These places are transformed in a surreal and psychedelic way.
Salvin takes approximately 100 photos for each image. While he can shoot a scene in less than 10 minutes, it may him hours or days to edit what you see here. The process is a lot of trial and error for the photographer as he figures out what time of day and season is best.
Salvin’s photos not only play with the orientation of the image, but reference time as well. Their circular motion is reminiscent of a wormhole or water spinning down a drain. Both imply a passage, whether it be in years or minutes. (Via Fast Company)
We’ve recently explored the world of creative dog grooming, and now it’s time to turn an eye towards portraits of ornate fowls. Singapore-based photographer Ernest Goh documented the world of Malaysian Chicken Beauty Pageants. Yes, believe it or not, these events exist (because why not?), and are captured in Goh’s tongue-and-cheek titled publication, Cocks: The Chicken Book.
Goh selected the Ayam Seramas breed of chicken for his series, who are known for their beauty. He sets places each creature against a black background and allows their exquisite coloring and patterned feathers shine. These photographs highlight their outward appearance as well as their quirky personality, as the cock their heads and strut their stuff.
On his website, Goh features a quote that’s some food for thought. It’s taken from the famous novel Animal Farm, and it seems very appropriate for this energetic series: “The creatures outside looked from pig to man, and from man to pig, and from pig to man again; but already it was impossible to say which was which.” The results of the colorful portraits are akin to what we’d see if a human had the lens turned on them. With this similarity, perhaps chicken beauty pageants aren’t that silly after all. (Via PetaPixel)
We know texting while driving is really dangerous. But, unfortunately, most of us still probably sneak a peek at their phone every once and awhile. Artist Brian Singer, AKA Someguy, got fed up with all of the Bay area commuters he saw on their phones and decided to take action. While sitting the passengers seat, he snapped photos of all of the people that were distracted driving. He then took it one step further and purchased ad space on a few area billboards and posted his findings. He titled the project TWIT Spotting (Texting While in Traffic). Afterwards, he began a website in order to share more photos and include facts about the dangers of being on your phone while driving.
TWIT Spotting has received an overwhelming response and sparked controversy. It confronts those making these errors on the same roads where they occur, and it starts a conversation about this preventable problem. But, at the same time, the project was criticized as public shaming and an invasion of privacy. Singer sees this as a means to an end, and his goal is enact change by starting a dialogue. In an interview with Vice’s The Creators Project, he wants to expand the project, and explains:
What I would love is for one of the organizations who are passionate about this to help me. We’d focus on impacting teenage drivers. How can we expand this beyond what I can do? What if the AdCouncil got involved or a cell phone company or an insurance company? We might lose the localized aspect and diminished the neighborhood-focused nuances, but it could have a greater effect on behavior overall, which is ultimately the end goal. (Via The Creators Project)
Seung Hoon Park’s photographic work is created using strips of 8mm or 16mm film that’s woven together to form larger images. For the series Textus, he depicts well-known and iconic landmarks from all over the world. After the “tapestry” is assembled, Park photographs it using an 8×10 camera to creates a more texturally seamless surface. The result creates cognitive dissonance; We expect it to look tactile, while it only appears flat.
The discolored edges of the film provide a vintage feel to the overall work, as they tinge it in yellows, blues, and generally desaturate all of Park’s landscapes. The smaller images that make up Textus fracture the larger photograph in a way that it appears as a victim of some sort of disaster. They’ve been pieced so that’s almost put back together, but there’s still part of it that’s off and will always remain a little off because of it. (Via Feature Shoot)
Artist Thomas Doyle’s work is done in a miniature scale, at the size of a model train set or smaller. Taking pieces from these types of sets, he alters them as dark depictions of suburban life. We see natural disasters literally tear homes in two and sometimes turn them topsy-turvy. The scenes are set up as a story with the characters trying to make sense of it all. They are kept under a glass shell and feel like they are suspended in time as if they are in a snow globe.
The scale provides a weird feeling that we’re omnipotent and could crush them like a bug. Doyle notes this in his statement about the work, adding:
Conversely, the private intensity of moments rendered in such a small scale draws the viewer in, allowing for the intimacy one might feel peering into a museum display case or dollhouse. Though surrounded by chaos, hazard, and longing, the figures’ faces betray little emotion, inviting viewers to lose themselves in these crucibles—and in the jumble of feelings and memories they elicit.
We feel a connection to Doyle’s figures, which is a testament to his ability to tell a story. You walk away from this work wanting to know more about these tiny lives. (Via Fast Company)
In photographer Rebecca Reeve’s series Marjory’s World I, she captures Floridian landscapes that reference a late 19th century Holland tradition. The idyllic scenes depict the swampy Everglades of long grasses, lily pads, and a lot of standing water. Framing each image is a set of curtains that blow in the wind. This is inspired by an old practice where during the wake of the deceased, it was customary to cover all of the mirrors, landscape paintings, and portraits in the home with clothes. Doing so makes it easier for the soul to depart the body and subdues any temptations to stay in this world.
Marjory’s World I is Reeve’s own interpretation of this act. To her, the ritual was confirmation of the deep connections and experiences we have with the natural environment. It also gave her a way to contextualize her fleeting time spent in the Everglades; All of these images were produced during her Airie Artist in Residence Program. Since she couldn’t take with her when she leaves, this symbolic act made it easier to depart.
In addition to the personal connection the artist draws from the work, to us it recalls the distance that many of us have to this untouched landscape. As we continue to develop an increasingly urban existence, these thrift-store fabrics create a window to the unfamiliar. (Via Artsy Forager)
Combining photography, sheets of plastic, and sewing, French artist Cyril Le Van reproduces life-size three-dimensional objects. They include small things, like a Polaroid camera, and large things, like a car. Le Van photographs his subjects from all angles then pieces them together using a blanket stitch. The result is something that’s a deflated, vaguely real version of something that already exists.
A portion of Le Van’s work focuses on consumerism. He reproduces expensive Nike shoes, Rolex watches, leather jackets, and more. These things are a status symbol for those who own and wear them, and his uncanny duplicates take power away from its branding.
Another facet of the artist’s sculptures are based on economic and cultural exclusion. Le Van photographed shanty towns and installed them in a gallery setting. His intention is that it challenges the viewer’s awareness of issues like poverty, and forces them to ask questions like, “what are these, and who uses them?” This, along with a car buried in luggage and a motorcycle weighed down by belongings, shows the transient nature of not having a permanent place to live.