Artist Jeremy Geddes paints with considerable skill. His highly detailed oil paintings depict surreal, often lonely scenes. Many of his panels picture a lone astronaut in an empty urban landscape. Its unclear whether his subjects are falling or floating, in trouble or asleep. Geddes communicates the haunting silence of each scene as effectively as textures and light. He clearly has an ease of technique and personal aesthetic.
“I want to show that, despite stereotypes, that gay men can be masculine too.
“When I wear men’s clothes I feel comfortable and confident in how I look on the outside which now matches the inside.”
“I have been called a SNAG (sensitive new age guy), a renaissance man, a male in touch with his feminine side, etc….I think that I am masculine in the sense of self reliance.”
“I am strong emotionally, have always stood up for myself and fear nothing. I happen to be physically strong but that isn’t where I derive my masculinity.”
Philadelphia-based photographer Chad States creates ”Masculinities’, a series of photographs and text devoted to create real, tangible accounts of men and their thoughts on masculinity in order to expose the complexities and difficulties in trying to define the masculine. States, interested in creating a large sample of men and their accounts, exposes his project on Craigslist and only takes subjects who are interested in participating in this project.
“Growing up as a gay man in the U.S. I have always been aware of how men were supposed to act and I judged myself against these ideas. Masculinity was always something that was attractive to me but when I tried to unpack what made someone masculine I found it hard to define. Masculinity seemed based on relativity and shifted in different circumstances and cultures.”
The series, inspired by State’s own struggles with understanding conceptions of gender at an early age, set out to investigate the matter by photographing these men in their home. States explains that “the structure of the project created a special circumstance in which those who were still willing to participate had a strong need to have their own masculinity confirmed by the photograph.” The men got to choose the ways in which they were portrayed, they picked what they wanted to wear and they choose to stand by or sit in any position they felt truly comfortable in.
I used a 4×5 camera only taking about 8-10 shots per sitting, so the poses and choices are very intentional on part of the sitter.” (via Feature Shoot)
Polish artist Lukasz Patelczyk paints censored landscapes. The series, actually titled Censored Landscape, depicts natural scenes in severe blacks and whites. Portions of each landscape is hidden behind a white block. Some of the paintings titled variations of Avalanche and Tornado censor the effects of such natural disasters. The censorship leaves a monument like shape in the foreground of indifferent, even harsh landscapes.
Garth and Pierre are an artistic team based out of Washington state, for their series MENU they appropriated nostalgic imagery of restaurants, kitchens, and table settings to explore the perceptions and politics surrounding food. The artists use geometric shapes cut into the image by hand, leaving the viewer with a lace-like grid of highly graphic saturated colors that allude to a romanticized era that has long since passed.
Interested in the idea of anthropomorphism, Madrid-based photographer Miguel Vallinas retouched animal photographs and made it appear as though they were wearing human clothes. Though an initial reaction may be to dismiss Vallinas’ images as something of a cliché, the richness of the photographs combined with the humor have a charm to them that is alluring and endearing. Segundas Pieles (Secon Skins), is an ongoing project that explores notions beyond anthropomorphism. In fact, Vallinas’ photographs seem to accurately investigate concepts such as psychology, stereotyping and personality. The images of the primly dressed swan, or the melancholy donkey portray emotion and narrative beyond simple humor.
Attempting to depict the way he imagined different animals would dress if they had the ability to, Vallinas plays off our preconceived ideas of what our clothing choices signify and what we may, even subconsciously, believe about certain animals, certain people and ourselves. (via Colossal and dailymail)
A giant red ball has traveled the globe for the past 13 years. Aptly called the RedBall Project, it’s stopped in cities from Paris to Perth and is currently stationed in Rennes, France at the historic Place de la Mairie. It’s there from July 3rd to July 9th as part of the Les Tombées de la Nuit Arts Festival.
The larger-than-life inflatable sphere is currently squeezed into the Opéra de Rennes’ narrow archways and begs for the passersby to interact with it; at 250 pounds and 15 feet tall, it’s hard to miss. Reminiscent of a child’s toy on steroids, it adds a sense of playfulness to the landscape as it’s photographed, touched, and even bounced into.
The creator, Kurt Perschke, explains the idea behind his sculpture:
The urban environment is overbuilt and full of possibilities, and the project is about seeing the sculptural spaces of a city. The humor and charisma of the piece allow it access to the city and invites others into its story. I think it’s essential for public work to do more than be “outdoors” – it needs to live in the public’s imagination. (Via designboom)