For his series Animal Eyes, the Armenian photographer Suren Manvelyan captures close-ups of animal eyeballs belonging to diverse creatures, revealing both the complexity and universality of the organ. Beneath his macro lens, these small circular organs appear paradoxically vast; at times, their curved surfaces resemble the entirety of planet Earth as seen from space, cloudy with ribbons of pigmentation. Here, the eyes, considered to be windows to the soul, reflect back a cosmic realm that evokes the metaphysical, but at the same time, they are startlingly material. The pupil, a seeming abyss ascending into the unknown, is cushioned by substantial tissues that ground us firmly within the corporeal world.
Though the species shot here vary immensely, a comforting uniformity emerges from the images; through the changes in iris hue and pupil dilation, there is a shared urgency in each gaze, a sweeping desire simply to see. The horse, his eyes veiled in straw-like lashes, fixes the lens with the same intensity as the hippo, whose wrinkled, fleshy eyelids peel back. Where most photography relies upon the assumption that we may watch without fear of being observed ourselves, Manvelyan’s images inspire within us a sense of being seen; are these opened eyes, these celestial orbs, looking back at us? What do they see? Check out the artist’s photographs of the human eye here. (via Agonistica) Read More >
For his series Evolution of Type, the artist and graphic designer Andreas Scheiger creates living, breathing fonts; his ABC’s might be dissected like a human limb, revealing boney spines and straining ligaments. With surgical precision, the flesh of his curvy S is pulled back in a manner that is both grotesque and sensuous. In this strange marriage of art, language, and science, the artist is inspired in part by Victorian sentiments and the emergence of Charles Darwin’s On The Origin of Species and the theory of evolution, which spurred medical debate and disillusioned many a spiritualist.
Scheiger’s work is profoundly influenced by seminal Vicorian text The Alphabet and Elements of Lettering, written by Frederic W. Goudy, the designer behind famous typefaces like Copperplate Gothic and Goudy Old Style. Schneiger imagines the literal manifestations of Goudy’s analogies, which compared lettering to animated organisms; like creatures extinct and in existence, language too has a history, bringing with it the ability to record and preserve human thoughts and discoveries.
Within Schneiger’s imaginative font, E’s are skinned to reveal a muscular-skeletal system; deeper still, is a network of red and blue veins and capillaries that transport oxygen to some unknown organ. Much like actual bodies, these letters are capable of deterioration and decay; a G appears lifeless, mounted like dinosaur bones. Similarly, a P gets trapped and preserved in amber, and a prehistoric J is fossilized in stone. The terms “the life of language” or “the body of text” become spell-binding realities in this whimsical and thoughtful series. Take a look. (via KoiKoiKoi)
Photographer Anna Ladd’s poignant series, Things I Told the Internet, But Didn’t Tell My Mom, examines the way that blogging has impacted her life. The Philadelphia-based artist has been sharing her thoughts and feelings via this medium for the past six years, and it’s changed her conception of privacy. Intimate and revealing admissions are made to seemingly countless anonymous people on the web, but has never been talked about in person.
Ladd’s photos depict landscape scenes of backyards with concrete walls, scalloped awnings, and parked bikes. The everyday places are adorned with cut-out letters attached to strings that spell out a phrase that was directly taken from something that she posted online. Sentences, while obviously out of context, communicate sadness and the pains that come from things like loss of love, growing up, or some greater trauma.
There’s a peculiarity to these images, a cognitive dissonance of sorts. We first see the letters like you would at a party, like they are decoration. But a phrase like, “I want to puke and sleep for six days” is not something you’d celebrate. It could be a metaphor for the facade we put on towards the outside world, where we seem happier than we actually are. The anonymity of the web knows our true thoughts and feelings.
In what is perhaps his most extravagant creation to date, fashion designer Karl Lagerfeld has created a life-size chocolate sculpture of his top model and muse Baptise Giabiconi. The male face of Chanel, who travels most everywhere with Lagerfeld, is shown here as a solid mound of rich dessert, reclining on a bed inside a hotel room made entirely out of chocolate. The piece was presented in Paris in 2011 as part of a promotion for ice cream brand Magnum, for whom the designer directed a commercial staring Giabiconi and Rachel Bilson. The strange yet endearing sculpture holds a Magnum ice cream cone in his hand, which luxuriates suggestively over his thigh and a pair of tiny tighty-whitey briefs.
Lagerfeld, who has ignited anger and criticism over the past few years for his arguably classist sentiments, certainly does not spare any expense in this sweet and decadent installation. In some ways, the piece is an ironic epitome of a consumerist fashion industry. Laid on this pristine white bed, the chocolate man stands in for everything our culture devours: expensive food, lavish furnishings, and even sexual gratification. Do we consume fashion models in the same way in which we devour ice cream? As far as artwork goes, this is about as shamelessly commercial as you can get, and yet it maintains an undeniable charm in its blatant self-awareness. Lagerfeld’s statue is both hilarious and compelling, standing at the intersection of capitalism and sexuality. Take a look, and for more chocolate artwork, check out Anya Gallaccio’s dark chocolate-covered room here. (via Gawker, NY Mag, and Telegraph) Read More >
Honk Kong-based artist Johnson Tsang creates alternative ceramic creations that spook viewers. Employing a realist yet surreal sculptural technique, Tsang looks to produce exaggerated, almost cartoonish, bizarre human forms that look very convincing (and very disturbing). Besides his famous creepy, chubby, porcelain babies–whom he calls his own ‘children’–Tsang is known for his ability to morph both functional objects and the human body to put forth an alternative line of work that challenges the craft oriented world of ceramics. Much like Beccy Ridsdel Dissected Ceramics, Tsang has the ability to make ceramic pieces that in a way remain functional, but still work as a conceptual piece of art.
Though he is perhaps most famous for his internet sensation photoseries, Everyday, where he has taken a photo of himself daily since 2000 (and which was then turned into a stop-motion video which went viral), Noah Kalina‘s work actually possesses a very distinctly subtle, and personal feel. In the series Internet/Sex, taken between 2007 and 2009, Kalina pairs empty hotel rooms, illuminated only by computer screens, and composite photography which suggests naked couples having sex. The dynamic of the empty and occupied rooms, when paired together, connect a portrayal of the inherent loneliness and longing of the human condition.
Kalina, who is based in Brooklyn and Lumberland, New York, has not explicitly said what these photos are documenting, it can easily be implied that these intimate moments with open computer screens simulate the connections and separations that both sex and connection through the internet offer. Taking place in various hotel and motel rooms, the series seems to suggest a lonely traveller, using their computer to make a primal, human connection. Surprisingly, the open screens and the desire they represent offers a loneliness more lewd than photographing sex.
Canadian photographer, Amy Friend revisits the past and explores themes of memory and impermanence through the alteration and re-imagination of vintage photographs. The artist inserts a charming glow to the silhouettes of her subjects; the additions makes the images come to life, almost as if the aura of the deceased is alive. “By re-using lights”, she says “I return the subject of the photographs back to the light, while simultaneously bringing them forward.”
I employ materials and surroundings that are familiar to me using them as starting points for my investigations. These materials become the substance I use to inform the work I create. In my practice I tend to work within the medium of photography, however, I am not concerned with capturing a “concrete” reality. Instead, I aim to use photography as a medium that offers the possibility of exploring the relationship between what is visible and non-visible.
Combining photography and painting, Polish-based artist Michał Mozolewski creates intriguing portraits of mysterious-looking subjects. Pictures of pictures of people are scanned into the computer and later remixed and using a variety of methods. They are set against dark backgrounds and the black and white base images have gestural strokes painted over top of them. The hues of white, cyan, and red don’t evenly cover the photographs and Mozolewski uses varying pressure that adds a sculptural element to the work by emphasizing certain features of the face or body.
The effect that the artist’s technique has on the mood of the work is dramatic. Diffused and distorted photographs combined with Mozolewski’s erratic marks make for a haunting and grotesque portraits that are dreamlike at the same time. There’s a lot left to the imagination with these works, and they communicate sadness but at the same time are provocative and overall very visceral.