More than a year ago, photographer Ruben Brulat set out on a journey from Europe to Asia by land only, through Iraq, Iran, onto Afghanistan, Tibet until Indonesia, Japan and Mongolia. The map below outlines the route that Brulat carved out for himself, marked with places where he briefly parallelled the paths of other travelers. His new series, “Paths,” is a collection of portraits the artist took of the strangers he met along the way. Brulat makes a concerted effort to capture each subject completely exposed in the natural setting where they crossed paths, prompting them to surrender themselves completely to the landscape.
According to the artist, he envisions the series as “a narrative constructed only by the randomness of the encounter, places and body—meeting with utopia and hope in these only suspended moments. [These are] bodies of people that became friends, performing, not without difficulties, leaving wounds, marks, and souvenirs from a time before heading towards different paths, after sharing one for a while.”
Nathan Kaso‘s series Miniature Melbourne takes a tilt shift look at the Australian city. Tilt shift is a photographic technique that essentially “corrects” the distortion created by perspective. The technique has the effect of making an scene resemble a miniature version of itself. Tilt shift photography has been featured on Beautiful/Decay in the past. However, Kaso transformed 10 months worth of his tilt-shift Melbourne photographs into a time-lapse video. Miniature Melbourne captures the work and play, the large life of the city. Watch the video after the jump. [via]
The work of legendary street artist Banksy is now iconic, even throughout the larger art world. Photographer Nick Stern uses these easily recognizable images as a starting point. Stern literally brings Banksy’s pieces to life. He restages the wall art using real people and objects in place of the spray paint and posters. Using living subjects adds emphasis to the often powerful and startling art of Banksy.
Lucia Scerankova lives and works in Prague and London. Without the use of digital manipulation, Scerankova’s photographs often feature a single reality bending oddity within a mundane setting. In one image a marble slab appears to fold while walked upon, elsewhere a drip of coffee remains frozen in time. These subtle works are comforting and disorienting all at once and allow the viewer to question the nature of time, gravity, and memory. In her own words: “I am interested in active physical approach to photography, to deal with the relation between photography and spaciousness. Outcomes are then home to handmade analogue special effects without use of digital manipulation. Illusion, fiction and myth are the themes which are attractive for me in my practice. I deal with the relationship to perceived, experienced and imagined reality.”(via)
Informed by a mixture of science, geometry & mythology, the intentionality behind artist Dayna Thacker‘s layered landscapes lies in a quest for perfect methodology. She searches through informational systems, ancient patterns and mathematical equations for inspiration, seeking to find a connection between method and an elevated sense of inner peace. ”Our inner and outer selves interact, inform and create the other: physical & spiritual, logical & intuitive, intellectual & psychological, conscious & subconscious,” she says.
Translating her research and interests to physical inquiry, Thacker develops intricate repeat patterns that she then hand-cuts into photographic investigations of landscape. The ritual, repeated nature of the cutting echoes aspects of her research process—one has to wonder if this mindful state is achieved in the making, or in the final viewing of these lace-like, multi-layered compositions.
DIAcussion, a group show that engages in dialogue and discussion through form and subject, opens tonight at envoy enterprises, 87 Rivington St. (6-8 PM). The exhibition seems to approach its concept very directly; a lot of the interplay between the work is very pronounced, sort of in your face. This is far from a problem, as the overall quality of the show looks to be pretty high. The focus on figurative elements opens up a direct, personal vein through which we are able to consider the implications of the vastly different ways in which we approach the same goals. You can keep your questions at face value (medium vs. medium, subject vs. subject). And you can take in the decaying face of Gerald Collings’ The Hollow (above) and go all out dust-to-dust; considering the myriad ways you might choose to live your life in the face of the possibility that we all end up in the same lame, dead position eventually, that we all think we know the best way out of the maze but none of us actually find the exit in time.
All images courtesy of the artist and envoy enterprises, New York.
Kyle Thompson is the artist behind these haunting photographs. His image are darkly surreal, seemingly caught in the middle of a or sinister or tragic situation. An autumnal palette adds a slight chill to each scene. What may be most surprising about the work, though, is its creator. Thompson’s biography states that he’s only been photographing work since he was 19 years old – the young photographer is now only 21! Further, Thompson is a self-taught artist with no formal training.
Genevieve Blais, a photographer based in Toronto, borrows imagery from classic art history paintings to unpack sexual politics relative to today’s contemporary palate.
Of her intention, Blais states, “The aesthetic/topical dissonance aims to elicit an uneasy response in order to subvert the implicit authority and sanctity of the icon.”
The result confronts and critiques art culture by sitting in an uneasy space between not only imagery, but also mediums– cameras and brushes, forcing us to clearly see the model as the true determinant– a staged powerful variant that has been with us since Caravaggio’s rule, humanizing the myth.