Clément Guegan is a Montréal-based photographer and filmmaker from Paris. His works are dark and conceptual, exploring nightmares and states of alienation. Interested in the loss of control, he depicts characters who are struggling within the remains of identity; their faces are always turned away or obscured, putting the viewer’s focus on their bleak surroundings. In some photos, people fall from the sky, and in others, the camera follows them as they walk through graveyards and down empty mountain roads. There is a sense you are being guided through a surreal world with no certainty (or even sense) of where you’re going.
Existential voids aside, there is a beauty that arrives through the fearlessness of Guegan’s work. He is not afraid to unravel identity and reality by exploring existence as a strange wandering. At the same time, the stillness he conveys is inspiring, and the mystery is provoking. His characters (when they aren’t plummeting from the clouds) seem brave going into the unknown, even though they merely represent the physical remnants of the self. In this way, Geugan’s images make meaning where meaning seems to have been stripped away.
On January 1st, 2015, Guegan started a 365 Day Project, which means he posted a picture every day of the year. The project is almost at a close, but the results are impressive, blending portraiture with his unique surrealist style. Some of the photos from the challenge are featured here, and you can see a bigger selection on his website. He also has a Tumblr and Flickr to check out.
London based collobrative group rAndom International’s interactive installation Rain Room allows you to have the luxury of walking through the rain without getting a single drop on you. Rain Room is a hundred square metre field of falling water through which it is possible to walk, trusting that a path can be navigated, without being drenched in the process.
As you progress through The Curve, the sound of water and a suggestion of moisture fill the air, before you are confronted by this carefully choreographed downpour that responds to your movements and presence. (via)
A1One (aka Tanha) has claimed his influences to be as diverse as Australian Aboriginal art to Mayan narrative hieroglyphics, but what stands out most in his recent works is his strong connection to his Persian heritage and his Iranian homeland. A1One has been gaining recognition lately and rightfully so. His colorful, intricate scrawls on Tehran’s walls and canvases artfully blend Arabic calligraphy with current street culture, as well as address social issues around the globe.
Opposite to “normal” portraits, Benjamin Nadjib took pictures of people with their eyes closed. Normally the focus is on the eyes, but instead the face itself has the most attention. Well played. Check out the gallery HERE.
"Lake Intervention", 2007/2008. Sound installation/ 30" x 24" Digital C-Print. Collaboration with Samuel Ekwurtzel.
Tiffany Sum’s work explores the im/possibility of intimacy between body and technology. Through interactivity in participatory situations, impressions alternate between the visceral and palpable, the fleeting and intangible. The responsive environment generates a constantly changing social formation among the audience. The process of internalizing these impressions into personally meaningful enactments can be voluntary — as in the gallery, or involuntary — as in the public place.
Corey as Dr. Frank-N-Furter, Divine Decadence, Henderson, NV
Chelsea as Columbia, Sins O’ The Flesh, Saugus, CA
Shannon as Magenta, Bawdy Caste, Half Moon Bay, CA
Shawn as Rocky, The Home of Happiness, Hawthorne, NJ
There are few movies with the same enduring legacy as The Rocky Horror Picture Show. Since the film came out in 1975, it has become both the longest-running theatrical release in the history of cinema, and more significantly, it has remained a cultural cornerstone for progressive politics and identities. This year, the film celebrated its 40th anniversary, and to this day people continue to bring the characters to life by recreating the costumes and set designs.
Lauren Everett is a Portland-based photographer who wanted to document the world of these dedicated fans. She started a project titled People Like Us, a series of portraits featuring cast members from around the United States in full costume. What makes these images unique is the fact that Everett has taken them out of the theater, portraying these playful and expressive characters in everyday environments. The result is an exploration of the way the movie’s themes of creativity and personal freedom translate into real-life functionality. In the following statement from the project’s website, Everett explains her perspectives on the film’s long-standing importance and relevance:
“It’s an environment where bold sexual innuendos and puns are used freely with an almost innocent humor. There’s a accepting ‘anything goes’ atmosphere, and a sense of being in a place where the rules of ‘out there’ don’t apply. For regulars and casual aficionados alike, Rocky Horror is a safe-haven where people of all persuasions can go to have a good time and be accepted as they are.” (Source)
Everett ran an Indiegogo campaign to put together a book of the portraits, which includes a preface by scholar Jeffrey Andrew Weinstock and short write-ups from the cast members. The book is available here, and you can see more previews after the jump.
Korean artist Rim Lee creates The Mess of Emotion, a haunting series of oil paintings that combine performance, photography and oils. The multi-faceted paintings work well within the themes the artist plays with, as they literally show the woman’s tortured yet delicate essence driven by emotional distress quite beautifully.
Lee plays model for her photographs; these [photographs] are then referenced in her paintings. The act of transferring the realistic image onto a canvas [a surface which usually allows for unworldly expression] indicates an unyielding desire to break free from the idea that judging character solely based on interpretations of physical characteristics and movements is in part, wrong.
Aptly so, the paint acts as a conduit for emotion and expression; the paint washes over Lee’s hyper-realistic physical portrayal, creating a dialogue between the two polarities.
The heavy-expressionistic brushstrokes fill the canvas with texture; they rise above anything else, as to indicate relevance on behalf of the otherwise invisible mental anguish she is going through. [via My Modern Met]