You probably have at least a photo (or two) that’s just too painful to look at. Whether it depict deceased loved one, a failed relationship, or be a symbol of a time long past, the sight is an unwelcome reminder of something (or someone) that’s gone. Since 2010, photographer Jason Lazarus has archived these images that are “too hard to keep” by their owners. He accepts the anonymous submissions and gives them a new life in the form of art exhibitions and books. Although their ownership has changed hands, their past isn’t forgotten.
These are a selection of photos that Lazarus has received over the years. With some of the images, you can immediately understand why they’re painful. One features dying cat laying on a cold metal table. Another is part of photobooth image of a couple that’s been torn into pieces. It’s also accompanied by a handwritten note.
With other photographs, it’s harder to understand why it was too hard to keep them. A seemingly-innocuous lush green landscape and a smiling snowman are another two submissions that Lazarus received. But, regardless of what they are, they meant something to someone at one time, and that’s the appeal of Lazarus’ project. It’s easy to relate to the feelings of loss, anger, and longing that these photos conjure to their original owners. These submissions are a reminder that we all hurt.
Vice is currently collecting photos that are too hard to keep, and they’ll publish a selection of the images. If you’re interested in participating, find out more here.
Edrem, (merde backwards), is a collaborative sketchblog from three French/Belgian designer-illustrators: Sébastien Paquereau, David Zazurca, and Steven Burke. The concept of the project, as is instantly evident to the viewer, is based in achieving volume. Paquereau, Zazurca, and Burke just want to get as many whimsical, stream-of-consciousness graphics out into the world as possible. In Burke’s words:
“We like not to say who we are when we talk about Edrem, because this is not the point of the blog. We try to get…massive numbers of experimentations and funny things [onto the blog], but we don’t care if the drawing is well done or not, it just has to be understandable…”
We all have a tendency to get heavily involved in our various projects, exerting microscopic levels of control on our output. Edrem reminds us that pulling off the reigns a little bit can yield many fruitful results. The Edrem crew staged an exhibition in Spring of 2010 at Michard Ardillier in Bordeaux entitled, “La Palissade”.
Lukasz Wierzbowski is a freelance photographer from Wroclaw, Poland. His photographs exude youthful energy and a sense of humor. With a keen eye for composition and a love for nature his work often features a figure playfully interacting with an environment. The result is a body of work that serves as pictorial allegories involving our relationship with the world around us.
The Unconventional Apology Project, created by Los Angeles based artist Chantal Barlow, was inspired by events haunting Barlow’s own family’s history. Her grandmother, Mableine Nelson Barlow, mother of 7 children, was shot and murdered by her grandfather two days following the finalization of their divorce. The dark secret has remained unspoken within her family, as her grandfather, a man of power, was never convicted or even sent to trial. As her grandfather grew older, he began to consistently capture moments from their family’s life. When he died, at age 84, he left her his beloved camera. Today, she uses this camera “as a tool to photograph…women that have been impacted by abuse, and have been silenced.” She aims to give these women a “Trail of Existence. They will not disappear.”
Barlow and her teammates, Tiffany Curlee and Dr. Susan Hammoudeh, have taken on this ambitious and altruistic project with the aims to create a platform to raise the volume of survivors of domestic violence. Not only does the team capture portraits of these women, they also have listened to and documented their stories. Each photograph shows the brightness and radiance in each of these women’s eyes, proving that there is light on the other side. The diversity of both the women’s stories and appearances teaches that domestic violence has no face. This is a truly pure and critical project, offering insight into a dark and far to common reality.
The body of work has been created to, in the words of the project developers;
“recaptur[e] the humanity of abused women. Part of the apology is shaking up our preconceived notions of abused women; how we have made them all appear (or disappear) in media and other social outlets. They have lost their personhood, and are reduced to an event. This portrait project aims to shift our experience of these women.”
To know more about the project and get involved, find the project’s website here.
Marcos Montané is a Buenos Aires-based Art Director who says he is “experimenting in the fields of procedural design, generative graphics and visual music.” His work is expressed in typography, visual design and audio-reactive visuals for VJ sets. Perhaps his most striking work is what he differentiates as some of his ‘still’ works, wire sculptures that recall natural, repeating readouts from a Richter scale, echoes, orbital fields or cellular biology.
In works like his Flowfields I & Flowfields II (above, and below – grouped and singular), Montané explains his inspiration and process “I was always amazed by the visualizations of flowfields that return some 3d softwares. In this case I used a topology optimization software and export the resulting lines to turn them into wire structures. The final result is a compact mass of wires.” The mass of wires takes on the appearance of sound waves solidified, equal parts organized yet chaotic(-looking).
Montané’s One-Piece Structures (below, with white backgrounds) are generated structures from a single piece of wire. Although simpler in their construction, the One-Piece Structures (which are named and numbered as Variations) equally complicated geometries, such as computer landscapes, GPS-tracking fields or sonar readouts.
You can follow Marcos Montané’s work at his Tumblr and Flickr accounts.
Aspen Valley based multimedia artist Tania Dibbs has created an epic series of barnacle infested sculptures. Her work, generated with various materials such as resin, paint and found objects, acts as a timeless collection of discovered underwater treasures. The beauty of her pieces lay in the simultaneous precision and playfulness within the materiality. Each sculpture demands a second look, an investigation, a questioning of origin and time. Dibbs‘ work, which ranges well beyond sculpture, also touching media such as oil and encaustic, holds a constant theme of questioning nature and man’s relationship to it. With pieces such as her denatured alcohol containers, rusted waste cans, and bottles being infested by, if not entirely submerged, in tentacle-barnacle-algea reminiscent formations, she forces perspectives on how and why. Where it is the made man objects that take on the action of being disturbed and manipulated, it is, in fact, the object that does not belong. Dibbs transforms every day garbage into fragile and precious works of art, concurrently creating an environmental debate. Her work, she describes, portrays an “unstoppable nature, creeping along and encrusting and covering” (via Hi Fructose).
Stephen Orlando uses LED light to track all sorts of movements from recording kayaking, canoeing, whitewater kayaking, swimming, and other sports. The images of paddle sports are stunning, like light skipping across water as a stone does. It’s fascinating how regular the strokes can be, but the most interesting are when they’re over uneven waters and the kayaker had to compensate. The pink, purple, and blue traces that are particularly nice because you can sense the slow stroke of the canoe paddle. The reflections of the light in the water are quite surprising as well.
Orlando explains his interest in recording these motions in light:
“I’m fascinated with capturing motion through time and space into a single photograph. Using LED lights with custom color patterns and long exposure photography, I’m able to tell the story of movement. This technique reveals beautiful light trails created by paths of familiar objects. These light trails have not been artificially created with Photoshop and represent the actual paths of the objects.
My photos focus on motions in nature and in urban landscapes, as well as human movement. I am inspired by the works of Étienne-Jules Marey, Anton Giulio Bragaglia, Gjon Mili, and Frank Gilbreth and their pioneering techniques.” (Via Colossal)