Manjari Sharma’s newest project, called “Shower Series,” takes her subjects into an area that is usually private and very intimate; the shower. In this new series, the subject is invited to her apartment where she photographs them in her bathroom. The experience, Sharma says, was one in which, “.. every new person in the shower became a brand new allegory. With every new visit I had a new protagonist; A new plot and a new parable of hurt and heroic that came undone under that shower – My Shower.”
Manjari Sharma was born and raised in Mumbai, India. She has worked as a photojournalist with many respected magazines in India as well as been featured on the cover of many publications. Her work can be seen on her website.
Photographer Simon Christen calls Adrift, his two year in the making video, “a love letter to the fog of the San Francisco Bay Area.” The often daily fog is just one feature that makes the San Francisco peculiarly wonderful. Christen worked through out the two year period to catch the images fog a few seconds at a time. An ocean of fog appears to flow like water down hills, through and under the Golden Gate Bridge, and into the city. Set to a custom score by Jimmy LaValle of The Album Leaf, Adrift underscores the beautiful mystery of unique area.
Surveillance continues to be an inspiration and investigation for artists and designers in the second decade of the new millennium. Taking a decidedly sunnier, DIY-approach, two French designers created an Etsy shop called Filez Doux to continue this exploration through cardboard art. Crafting and selling handmade versions of surveillance cameras made from discarded cardboard, Filez Doux say they are inspired by the pervasiveness of security culture. Although their real names are partially hidden by their moniker, the Lille-based duo (whose real names are listed as Sylvain and Hélène) create works which avoid the typically-negative tone of most work focusing on the encroaching surveillance state.
Beginning the series by playfully creating a light-post made of cardboard for their apartment, the duo began to look around their streets for another inspiration to replicate with used materials. Settling on a security camera, there was seemingly little message behind the first camera created. As the duo explains, “The first one Sylvain made was very realistic and bigger than an actual camera. At first, it was strange to have it in the living room. I sometimes caught myself glancing at it, as if it could be a real one spying on us. Before we knew it, there were 2, 3, then 4 security cameras! Some serious, some fun, some small, some big.” Each camera takes roughly ten hours to complete, and each is a singular construction, as the duo never reuses a design.
Although they lightly suggest otherwise (an asterisk to their name informs visitors to “keep a low profile“), Filez Doux seem more infused with energy from the re-purposed material and the meticulous replications of their work rather than the social commentary. However, it is evident that surveillance is becoming a larger, more widespread issue if popular culture can so easily recognize and reference the camera as ubiquitous and inescapable in our daily lives. (via junk culture & etsy)
Raphael Hefti, an artist interested in the factory-like production and performative qualities of art making, puts a twist on ‘land/earth art’ by using sand, iron oxide, aluminum and a 19th century welding process on an enclosed gallery space in London.
His works blur the boundaries between natural/industrial, as he shows new ways of considering the artwork outside of already established narratives, in this case, setting up a foundry (a factory that produces metal castings) in a gallery space, and/or creating a natural process in an industrialized way/setting.
‘Quick Fix Remix’, a performance and exhibition, demonstrates the artist working with the process of ‘thermic welding’, a 19th century industrial process originally devised to weld steel train tracks together. The sand underneath the artist’s feet is composed of iron oxide and aluminum. With the help of both the portable casting vessel (located towards the back of the gallery space) and the artist’s physical labor, the sandy landscape is transformed into an improvised metal casting factory. (via mousse magazine)
“For me the idea of performance is related intimately to the idea of production. Often the situation I work in has its own sense of choreography – from the dunes of a beach to the machinery of a factory floor.”
Yevgeniya Kilupe, a Holocaust survivor and self-taught artist, started making masks to supplement her pension after a life of working in the factory. Around six years ago, artist Christine Jurjane discovered Yevgeniya and her otherworldly masks at a market and immediately recognized Yevgeniya’s talent. Christine introduced Yevgeniya to Linda Luse, the owner of Galerija Istaba, and they soon put on an exhibition of these fantastical papier mache “characters” to wide acclaim, eventually supporting Yevgeniya to open her very own Etsy shop. Watch the full documentary after the jump.
Sometimes simplicity is key such as in the paired down color schemes and minimal compositions of Amy Feldman’s paintings. Through subtle color shifts and iconic geometric imagery Feldman gets us to look a little bit closer at all the variations in the color black and the beautiful imperfections of the human hand.