The photographic work of Tajette O’Halloran is narrative rich. Each image seems stolen from a story in progress. The photographs borrow filmic qualities not only in its storytelling but style lighting and composition. Indeed, O’Halloran had spent time as a location scout for Australia’s film industry. She’s kept her eye for location and sense of drama. The self-portrait series featured here is set in an abandoned house in Barre, Massachusetts.
O’Halloran relates of the experience, “While staying here in this environment I felt compelled to create a photographic story of captivity, abandonment and surrender. I wanted to explore the fragility, torment and eventual freedom of the mind when left alone with yourself and your thoughts.”
X-Ray photographer Roy Livingston’s latest series is at the junction of retro and modern. X-Ray Visions is series of electric x-ray photographs which radiate neon colors. His series is composed mainly of photographs of toy robots and toy guns brings a sort of eerie atmosphere to the compositions regardless of the heavy use of neon. The fact that the inner workings of the objects are visible makes them all the more captivating and fascinating to look at. Being able to see the cogs and gears of the toys in the photographs gives them a sort of scientific feeling.
The process behind theses colorful x-rays is also interesting in its own respects: Livingston starts off with black and white xrays which he then edits digitally ino order to achieve the final neon result. Livingston is not only about the final product of his work but also focused on the process itself and what he refers to as an “artistic joyride” .
X-Ray visions is the product of a well thought out process, fueled by Livingston’s fascination for industrial design and the digital manipulation of photographs. His combination of both old and new media makes for a captivating project that speaks to the audience, not only with regard to the process but also the symbolic nature of retro-futurism and the neo 80s mindset.
Artist Josefina Concha, with the aid of a sewing machine in lieu of a brush, weaves her work into being. Full of texture and threaded messy shapes of color, her stitching fascinatingly harkens back to Mark Tobey’s thoughts on abstract expressionism: “A painting should be a textile, a texture. That’s enough! Perhaps I was influenced by my mother. She used to sew and sew. I can still see that needle going. Maybe that’s what I’d rather do than anything with the brush-like stitching over and over and over, laying it in, going over, bringing it up. Bringing it up. That’s what is difficult.”
However, of her own approach, Concha strives not just to simulate, but replace painting with crafting techniques, a medium formerly equated primarily with domestic labor. She explains, “The building of my work is articulated through the investment of a material (the thread) on a piece of cloth, and the time dedicated to sew it. This is made visible in the superimposition of weaves that in short will generate a thickness (body) and a sensation of volume, dominated by the treatment of color and optical mixtures, to which I turn to with the eagerness of creating suggestive images that appeal to the ephemeral.”
Imaginative tandem show of works by Eleanor Davis and Katherine Guillen going up at GR2 in Los Angeles on January 16th. “The craziest part of it is,” explains Guillen, “that, as zinesters we were always so entranced by Giant Robot and huge fans of their art shows and magazine-now it feels a little surreal to be on the other side of things (in a very very happy way.)” Go check it out!
Guy Laramee delicately cuts caverns through the centers of books. He carves the pages away to reveal caves that seem to be ready to be explored. His work explores the insides of books in a very literal way. Indeed, Laramee’s sculptures in way recall the plot of a classic: Journey to the Center of the Earth. And, in fact, Laramee mentions this book in his statement on the series. He says:
“Like in Jules Verne’s “Journey to the Center of the Earth”, we seem to be chained to this quest. We “have to” know what lies inside things. But in doing so, we bury ourselves in the “about-ness” of our productions – language, function, etc- all things “about” other things.”
She Is Frank mixes bizarre scenarios and bold retro sets to create captivating fashion photography. A personal favorite is the image above. Who doesn’t like to see beautiful images of models eating Chinese food with such vigor?