Beth Galton‘s series Cut Food is a side of food photography rarely seen – the inside. Galton is a prolific photographer specializing in food. While she works primarily in advertising and commercial photography, Cut Food is one of several conceptual projects from Galton. The series captures common foods, though some not so commonly sliced in half. Canned soups and a cup of coffee seem to rest perfectly in half of a container. In order to catch some of these Galton replaced the liquids in the foods with a gelatin.
After spending a few decades shooting high-concept high-fashion spreads for the likes of i-D, Vogue, W Magazine, Yves Saint Laurent, Alexander McQueen and Christian Dior, photographer Nick Knight has recently launched a body of work in London, nearly 10 years in the making. Inspired by paintings from the Baroque period, Knight’s altered large-format photographs of elegant floral arrangements take on a psychedelic, gorgeously twisted liquidity. By exposing the prints to various combinations of heat, chemical and water treatments during the printing process, he’s able to interject each piece with an intriguing, painterly flair.
Jean Cocteau once said,”a poet doesn’t invent, he listens.”
The pieces built by self-proclaimed “melancholic post-situationist” artist Robert Montgomery, likewise, work as interesting dreamy receivers or lightning rods, absorbing bursts of humanity’s collective subconscious in relation to varying environments.
Translating frequencies and teetering between genres, Montgomery, in Interview Magazine asserts, “Obviously my own work comes from a conceptual art tradition, but I love the graffiti artists, and I feel spiritually closer to them than to most contemporary art; they make the city a free space of diverse voices and we shouldn’t get all cynical about them just because Banksy made some money.”
The two artist collective known as Nerhol is made up of Yoshihisa Tanaka and Ryuta Iiada. Their work focuses on pulling two dimensional work into the three dimensional realm. These portraits, rather than a single image, are actually piles of photographs. The subjects were asked to sit still for three minutes while a camera took photo after photo. The photographs were then stacked and cut to reveal the numerous layers of portraits. This layering effect reveals the subtle movements of each subject as if it were slowly warping a single image. [via]
Louise O’Rourke’s photographs document not just the idea of rejected beds as a form of waste, but more so, the repetition of intimate objects made sadly public with age, which moves her work into a particularly lonesome study of humanity’s careless romance with things.
From Toy Story to the Velveteen Rabbit, children’s literature seems to capitalize on a similar theme that O’Rourke tugs at here: because our beloved objects don’t age gracefully– or even at all– they get thrown away and easily replaced. We don’t even need to see the newer model to know that it is there. It is always there: lingering. Waiting. The job of an object is to selfishly service us until we are done with it. These are the rules. In this sense, objects can never win. Caught in limbo, O’Rourke’s wayfarer beds transition onto the street, heart exposed, welcoming vagrants or rodents. A sad Dickens’ death. It is not a story of waste, but love. Wherever the new bed is, the old bed is not, and will never be again.
However, there is a sign of hope. O’Rourke also notes the value of reinventing old finds such as discarded photographs, of which she peels at the emulsion, saving the scraps, to create a new context and authorship of the image, one that is more ephemeral or abstract.
She states, “By removing the emulsion, I further remove the photograph from the event and even claim the moments that stand out to me. By physically altering the found image with no negative to reprint from, I create my own narrative from those previously captured stories.”
Perhaps, through art, there is life after love for objects.
The work of Alex Prager has always been dramatic…or perhaps the correct word is ‘cinematic’. It may not be surprising that in addition to being a photographer, Prager is also a film maker. His newest series of photographs, titled Compulsion, resemble movie stills the moment the film takes a turn for the worst. The images capture a distressing unresolvable anxiety. However, there is also a strangely pleasant disaster-flick aesthetic found in the images. The photographs underscore the prettiness and predictability of dramatized demise. [via]
Bubi Canal – Chrystelle from Bubi Canal on Vimeo.
We have featured the work of Spanish artist Bubi Canal on the blog in the past (here). He currently lives and works in New York City and continues to produce larger than life photographs steeped in surrealistic whimsy. He has recently updated his website with new images, video, and plastic sculpture that exude childlike wonder. In his own words Canal aims to highlight “…wishes, dreams, magic and love” and we are excited to watch his imaginative world expand.
The mystical, mesmerizing performance works of Atlanta-based artist Shana Robbins stretch the boundaries of the real. Her jarring, costumed and choreographed rituals of passage are strange and unreal, yet compelling. The photo-documentation of each performance points to carefully constructed sets, costumes and props that set the stage for her offbeat, painterly vision of theatre. Conceptually the works address conditions of the natural realm, feminine existence and ritual with a futuristic, pagan edge. Drawing on her own experiences as a student of Butoh movement, Robbins explores methods of movement and storytelling that pull from ancient narratives of birth, death, identity and transformation.