The painter Casey Baugh’s vibrant images are so astoundingly realistic that they could easily be mistaken for photographs if not for the eery, impressionistic brushstrokes that are only visible at close range. In rich and moody blues and blacks, the artist imagines a social and psychological landscape dominated by technology, a world where humans and machines coexist in a heightened state of tension and theatricality.
With conventionally beautiful women serving as his subjects, Baugh seduces the viewer; the photorealistic flesh glistens in soft, dreamy blues. Technology becomes a fetish object of sorts as wires coil about the curves of the female body, entangling and binding her while her sensually lit face surrenders to a strange sort of ecstasy, her body reclining suggestively.
Despite the powerful allure of technology, Baugh’s work also serves as a warning against our surrender to it. The remote, mechanical aspects of our modern lives— electronics, social media—entrap the human self with their metallic sheen and magnetic glow. A woman is seemingly choked by a collar made of industrial piping; the piece, titled Ammonoid, suggests that the foreign object has in fact integrated itself into her anatomy. Similarly, a girl is bound in glistening cellophane and confined to a cell, hooked up to televisions without chance of escape. Sadly, Baugh’s women, drawn to the irresistible blue screens, have become as much machine as human being.
The form of the work mirrors its thematic content; at first, the images look like photographs, captures of real events, but upon second glance, it becomes clear that the scene is an expertly-painted illusion. How much of our experience with technology is real? At what point do we sacrifice a truthful mortal existence for the entrancing (and ultimately fleeting) world of technology? (via HiFructose)
Camgirlsproject was created by former fashion student Vanessa Omoregie who began the ongoing series about a year ago. The project seeks to investigate the female image within the context of the internet by presenting images of classic paintings that feature webcam selfies in the place of the painted nude female form. All images are user-submitted and present the viewer with a reappropriation or reclamation of female nudity as something to be celebrated and not shamed for.
The term – camgirl – originally applied to anyone who recorded themselves via webcam doing anything, not just sexual acts, but has been more currently associated most strongly with sexual behavior. Omoregie says, ”The name has connotations of its own.The project hopefully makes people rethink what they know about the term and how they view girls who choose to be in front of a camera -sexual or not.”
Something you may notice about the submissions is that these modern-day nudes overwhelmingly represent lean, white, hairless bodies, almost a complete reflection of the bodies in the classic paintings. As a black woman, Omoregie is disappointed that more women of color and varying body types have not submitted to the project, although she has herself participated and tries to encourage more women to submit. Her hope was that women who are not typically represented by the media would feel more comfortable presenting their bodies in this sort of space, but so far, submissions of more variance have been few and far between.
While not currently taking submissions, Omoregie will be inviting followers to contribute to future projects of hers through this project’s site. She has also suggested that people follow her personal blog in order to keep up with forthcoming projects. (via telegraph and animal)
MRI technologist Andy Ellison spends his days scanning human brains, searching for abnormalities. He began scanning fruit on a whim, using an orange in a test of the machine’s settings; the results were so stunningly beautiful and transfixing that he began bringing produce to work, scanning our favorite fruits and veggies on his time off, and posting animated sequences of cross-section images onto his blog, Inside Insides.
The high-resolution black and white sequences apply the imaging tool to the arts, highlighting the geometrical perfection of organic objects. The slow motion animations are imbued with a sense of life and vitality; like pumping ventricles, the matrices of a pineapple seem to gape open and shut. A tomato resembles a microscopic cell, seemingly splitting and reproducing with astonishing speed, and a head of garlic seems to emerge, its cloves flawlessly woven together, from nothingness.
Ellison’s slow motion animation allows mesmerized viewers to be seduced by the rhythmic revelations, and the everyday is elevated to cosmic levels; an scanned eggplant seems to explode into a complex network of stars. These food products, these mundane miracles, get a moment to shine in the imaging machine’s dense whites and pure, weightless blacks. The uniqueness of each fruit takes center stage (can you find the bruised onion?), and together, they paint a rich portrait of the natural world. These elegant plant structures, viewed in this way, don’t seem so different from our very own organs. So the next time you stroll down the produce aisle, take a moment to consider the miraculous visions that lurk beneath the surface. (via Salon and Offbeat)
Yes, you read that right; the artist Antoine Bridier-Nahmias paints with mould, marrying art and science in an unexpectedly delightful way. His strange media include various sets of bacteria and fungi, ranging in color, texture, and density, and a petri dish serves as his canvas. Once a piece is grown to his aesthetic satisfaction, the artist photographs it from above, capturing the nuances of the material in stunning resolution.
Bridier-Nahmias’s images, perhaps revolting if seen inside your fridge, are visually enthralling when viewed in the sterile confines of the dish. Like strange and serendipitous science experiments, the moldy surfaces create ordered geometric patterns found time and again in nature; unlike paint, the bacteria reproduces itself in accordance with complex biological laws, forming perfect circles and straight lines that emanate from their centers.
A gorgeous visual balance is achieved through the artist’s careful and deliberate use of color and form; within the gestalt of the dish, puffy clouds of mould, large as sand dollars, are balanced out perceptually with bright reds; seemingly disparate species of bacteria work together to create a harmonious work.
In these pieces, the chaos of life and bacterial growth exists in continual tension with the neatly ordered aesthetic of the work, inviting views to examine moldy patterns not with disgust but with transfixed delight. When given free reign to multiply within the petri dish, these species create astoundingly formal compositions, flawless patterns that no master artist has come even close to replicating. Take a look. (via Design Boom and It’s Nice That)
Artist Ron Issacs crafts delicate-looking garments using a not-so-delicate looking material – wood. Starting with Finnish birch plywood, he builds elaborate relief constructions and ends by painting them in a trompe l’oeil fashion. Issacs excels at capturing the subtle details that make these sculptures believable. The shirts, dresses, and flowers look as though they are gently swaying in the wind. He writes about the subjects of his work, writing:
My three primary recurring subjects are vintage clothing (for the way it continues the life of the past into the present, for its rich structures and colors and shapes, and for its anthropomorphic presence as a stand-in for the figure); plant materials in the form of sticks, leaves, and flowers (for too many reasons to list); and found objects. They combine in appropriate or surprising juxtapositions, sometimes purely as a visual “poem” of sorts and (if I’m lucky) sometimes as an image with real psychological resonance. Objects occasionally reappear in other contexts and take on new meanings, like a repertory company of actors playing different roles in different plays.
Issacs goes on to say that he sees his art as a hybrid of painting and sculpture; the three-dimensional construction employs one half of the work while the colorful adornments are the other. In addition, he invites the viewer to come up with their own interpretations of his creations. You can attach a narrative to it and your own “reading,” but to him, these are largely about the act of making and the fascination with making things resemble something that they’re not.
Japanese art photographer FUKE P-San transforms his photographs into emotional experiences by applying expressive color palettes. In FUKE’s photographs, color and light becomes the subject of the work, as opposed to an objective characteristic. FUKE photographs the world around him, then uses digital color and light effects to give the photograph a painterly aesthetic, one that mirrors the beauty he sees and feels when experiencing the scenery he encounters. He says, “There is so much beauty in our everyday life that goes unseen simple because we develop a different sense of how we value beauty often influenced by our every day life routine.”
FUKE’s color palette and composition evokes the work of artists like Edvard Munch, Egon Schiele, Vincent van Gogh, and Claude Monet, and registers an emotionality not frequently seen in photographic work; this is largely due to his work’s painterly qualities. He hopes his images enhance viewers’ perceptions of the world, and influences the way they perceive beauty.
“Open new windows in your mind and heart, notice and catch the beauty of ordinary small things, watch them well and find a way to make this beauty even bigger. Find the mystery in everything; feel it and this will open your heart to new worlds that you previously thought they never existed. Art can give us Happiness, and help us communicate with ourselves and others to a higher level.” (via cross connect and life treasure collector)
Korean artist Seungyea Park (also known as Spunky Zoe) creates these grotesque portraits that reveal the ‘Monstrousness’ caused by fear in our inner world. Park works with a detail oriented eye, with ball-pen and paintbrush at hand, she creates these monochrome, realistic paintings/drawings of bodies with abnormal characteristics (i.e extra hands and eyes, animal-human hybrids,etc).
Park describes her work as a study of fear. With a deep understanding of what fear means to the variety of people/characters she portrays , Park goes right ahead and gives these confining thoughts a vision. Furthermore, Park wishes to overcome her personal fears as well. Through her images, she manages to overcome avoidance and becomes completely desensitized by “facing monsters, or the true nature of fear itself.”
“Due to fear and horror being used as the most ‘universal’ and constant devices to maintain social systems as ‘injustice’, and consider them ‘enemies’. While regarding tabooed beings deviating from us as monsters. we ourselves become freaks. Monsters are everywhere.”
Australian photographer Greg Briggs‘ new photoseries Melbourne Cleaners highlights the often nameless faces that clean and restore the seemingly untouched galleries, theaters and museums. By focusing on the people who keep these spaces pristine, Briggs not only acknowledges the work of these people, but also takes the viewer behind the scenes to an even more quite, contemplative place, rarely seen by most museum-goers.
Taking place via a virtual tour of important architecture and places throughout Melbourne, Australia, Briggs’ photoseries was captured over six months. Capturing these workers who generally work alone, they are seemingly oblivious to the camera, and are caught in intensely private moments alone with their work. One cannot help but notice how these abandoned, quiet, spaces might be a better way to actually appreciate all the works of art we often walk right by during busy open hours.
Katie Hosmer at My Modern Met writes, “The artist captures what seem like voyeuristic moments as cleaners go about their work in some of the city’s important and iconic buildings including St Paul’s Cathedral and The Queens Hall, Parliament House. Surrounded by classic architecture andfamous artwork, each individual concentrates on the task at hand and seems completely unaware of the camera’s presence. Viewers can almost hear the low hum of polishing machines, the soft whoosh of feathers dusting across the nooks of a picture frame, and the splatter of bottle spraying cleaner along the surface of glass.” (via mymodernmet)