Jon Jacobsen, a Chilean photographer, creates images and animations that are metaphorical in nature; his usage of image as allegory is often referential to surreal worlds and occurrences. Through his experience as a fashion photographer, Jacobsen is able to put forth a product that combines both a fashion-editorial aesthetic and the feel and look of something that, say, Salvador Dali created. His work is indicative of imagined scenarios that in a sense encapsulate real sensory experiences. Although there is no specific continuity to any of his work, any one of his photographs alone is enough for viewers to become interested in Jacobsen’s personal experiences and wild imagination.
“As a child I dreamt of becoming an astronaut, now I create a universe myself”
According to his short statement on his Behance profile, his animated GIFs are inspired by specific moments in times where feelings, thoughts, and the senses go out of control [smelling or seeing something that provokes strong emotions, going through a difficult emotional experience,etc].
Tumblr sensation Mister Fungo creates funky, mind-bending gifs that vacillate between psychedelic and zombie inspired imagery. The bright colors, together with their mesmerizing movements, create a lively yet freaky vibe.
These ink drawings, saturated with detail, are the masterwork of Seattle artist Olivia Knapp. Knapp utilizes classic shading techniques from the Baroque period, putting a real spin on the classic still life. At first glance, her work appears to be a mishmash of objects borrowed from an antiquated medical book. Knapp orchestrates a hyper-stylized version of everyday elements within American culture: a Fruit Loops box, some headphones, items rigidly anchored to the 21st century American lexicon. In these drawings, they appear in a different light, making the items far more mysterious and surreal than we know them to be. The black crosshatching weaves in an inexplicable amount of detail, with forms that are tight from a distance and dissolve into their own internal network of lines when viewed in detail.
Her work stretches leisurely throughout the frame, exhibiting a sort of spaciousness that is vastly composed of the winding structures of arteries stemming from the heart, or twisted plants and snakes. The arteries of a heart grip a spoon to eat a bowl of cereal, the brain hovers, listening to music; often what could have been a normal picture reduced to its mere elements, the heart the symbolic structure indicating man, or human, yet everything contorts into everything else like Salvador Dali’s melting clocks. The marriage of a new symbol presented with an old technique is nothing new, but Knapp has found a way to express it that is entirely bizarre, interesting, and unique.
Artist Kozoo (featured in our newest B/D Issue!) worked on this giant cake as a member of small creative unit GwaGwa. The towering confectionary and large eating utensil was stationed in a mix-use complex in Roppongi, Tokyo and truly expressed the creative goals of GwaGwa to express the magic of childhood fantasies and everyday curiosities. Highly preferred over Godzilla.
Laura Swanson’s “Splices” series mixes and matches various parts of two peoples faces to splice together the “perfect” face.
“Splices” recognizes an absurdity in comparing overt physical differences. I am fascinated with a contemporary phenomenon: overindulgent, politically correct driven behavior of pointing out obvious differences to avoid seeming ignorant or biased. Often, this ends up as condescending towards the person who is the “different” one. In “Splices”, it is apparent the eyes are not the subject’s, but what is it about a blunt splice that makes one so quick to notice or point out the obvious difference? Ultimately, I am interested in the idea that something can become too different to bear – to the degree where one cannot refrain from pointing it out. -Laura Swanson
The characters in Tip Toland’s hyper realistic sculptures are fragile creatures that find themselves at the end of adulthood or at the beginning of childhood. Those stages in life have a certain vulnerability, isolation and innocence in common. Toland attempts to demonstrate the decline preceding death, and the increased separation from others it brings. Their expressions are unengaged and convey a sense of deep psychological detachment that is sad and enigmatic as well as dignified by the process of natural aging. In his article for, Ceramics: Art and Perception, Glen Brown states, “[The works] weigh upon [the viewer] for the simple reason that they reflect the profound, inevitable solitude that envelops the beginning and the end of life.”
While exploring age and aging, Toland’s work attempts to give voice to inner psychological and spiritual states of being. What is of primary importance to her is that the figures contain particular aspects of humanity, which they mirror back to the viewer. It’s the fragility and transient aspect of mankind that the artist is after. That is one reason for choosing very old or very young subjects; they both portray innocence as well as complexity. While her subjects are sometimes self-portraits, they are meant to convey universal truths about humanity, society and the self.
The hyper realism of Toland’s figures comes from her attention to detail and unique use of materials. Using an encaustic technique, Toland creates a waxy finish for the skin that mimics real flesh. She even goes so far as to incorporate actual human hair into the works. The porcelain eyes create a doll-like realism that is both haunting and entrancing, while carefully defined wrinkles, skin tone, tooth enamel, and bone structure, are remarkably realistic.
There’s an air of both mundaneness and mystery in the series The Waiting Game by Spanish photographer Txema Salavans. The blown-out landscape images were collected over a period of six years, and the intriguing photographs don’t depict hitchhikers – they feature prostitutes. We see women sitting at rural roadside locations along Spain’s Mediterranean coast, including highways, secondary highways, and small byways between towns. Formally, they are not the focus of Txema’s composition. They appear from a distance and sit on the side of the photo’s frame as road signs, wilderness, and construction sites surround them. The routes seem desolate but are still well traveled, as drivers want to avoid having to pay for toll roads, as well as trucks carrying goods and fruit take them from Andalucia to France.
Salavans disguised himself knowing that these women probably wouldn’t want their photos taken in the first place. He wore a surveyor’s costume, complete with an assistant and a surveyor’s pole. The results offer an unconventional into the world of prostitution that takes it off city streets and to quiet moments. (Via Feature Shoot)
Artist Romain Crelier has transformed the already ornate and beautiful interior of Bellelay Abbey with reflective pools of used motor oil. This unique and unlikely installation is created by pouring pools of motor oil into an extensive and organic-shaped vessel that holds the oil into its form, brilliantly complimenting the architecture. This Swiss Abbey contains intricate and ornate 12th century architecture, including Baroque style monasteries and elaborate stucco paintings. The dark, glossy oil is a stark contrast to the bright, white interior, creating a harsh but remarkable juxtaposition. The already dramatic interior is complimented by this reflective source, mirroring not only its complex architecture, but also the viewer.
Motor oil is not the first thing that comes to mind when you think of an attractive, shiny material. This is definitely not your traditional installation. Normally thought of as a messy material, the deep, sleek liquid creates a deep impact on the viewer, full of mystery and awe. The church is often a place of reflection, where you can go to experience a sense of stillness or tranquility. Crelier furthers this experience by giving you a literal reflective liquid to gaze into while you roam this space. The wonder you might feel by entering such a monumental place is magnified through this installation, moving you to a place of awe. This installation has a seemingly simple concept, but results in an immeasurable effect on the viewer, creating layers of visual possibilities. Romain Crelier’s installation, titled La Mise en Abime, is just one of the incredibly colossal installations the very talented, Swiss artist has under his belt. (via MyModernMet)