Spanish artist Oscar Parasiego creates Diaspora, a photographic series that illustrates the transformation and adaptation of individuals who emigrate to other countries in search of a better future.
At that point, there is a transition between the person we have been so far and the person we are going to be.
Inspired by his own move to the UK from Spain, Parasiego uses photography in order to literally depict the varying feelings and states of mind of immigrants as they seek comfort and stability in a brand new countries. Each of these ‘portraits’ are altered in order to only depict a silhouetted, invisible outline of the subject, one that interestingly reflects the environment around them. Through this technique, we are to assume that this person has seamlessly become part of their new environment. Their invisibility,tough positive in some ways, is telling of their struggles to be part of something new while also maintaining the old and familiar. We can say that by becoming part of this new environment (by blending in and becoming ‘invisible’), he/she (the immigrant) risks loosing their ‘true self’ by assimilating to customs and enviroments that are not truly theirs.
Parasiego’s work is telling of his struggles while transitioning to his new home. His experiences, and his renditions of them, nicely encapsulate the experiences of many (myself included). I moved to the U.S from Argentina about ten years ago, and my experiences in the first few years of living in the U.S felt significantly similar to those rendered in these photographs. Feeling invisible whilst trying to fit in by assimilation were two things that were hard to live through. Thankfully this state of mind, slowly but surely, went away, letting me became visible for who I was and for who I became once I was settled in my new home. (via Feature Shoot)
Most people either love or hate photographer Terry Richardson. I have to admit that I haven’t been the biggest fan of his work but hearing him speak in these two videos produced by Belvedere Vodka has made me rethink my position. I appreciate his sincerity and honesty about what he does and why he does it. Second video after the jump.
TOMAAS is a Paris-based fashion and beauty photographer whose stunning works explore the way man-made materials and objects accompany us in our daily lives. This particular series, titled Plastic Fantastic, incorporates plastic bags, forks, tubing, straws, bottles, and more into the creation of surreal and cinematic imagery. His white-washed models are both alien and beautiful; with plastic adorning their bodies and faces, what is most often seen as a functional and/or wasteful material becomes the luminescent fabric of space-age fashion.
Throughout his work, TOMAAS is interested in imagery that presents multiple themes. Plastic Fantastic is one such series, wherein he examines the prevalence, significance, and artistic versatility of plastic in our modern-day world. While conceptualizing this project, TOMAAS wanted to emphasize “the design and design choices behind such man-made products” (Source), and furthermore, explore what happens when such functional objects are removed from their normal contexts; take plastic forks and tubing into an arts and beauty studio, arrange them in unusual ways, and suddenly they become eerily beautiful and expressive crowns and dresses.
This approach to plastic as desirable or aesthetically-pleasing may be a bit difficult for us, given its noxious status in environmental discourse. But this is TOMAAS’ intention, to show beauty in unexpected places (and perhaps challenge some ethical perceptions in doing so). “There is no denying that [plastic] is one of the most commonly used materials in today’s society,” TOMAAS writes, describing what inspired him to create the series. By synthesizing plastic with fine art photography, he allows us to see — perhaps with a bit of resistance — beauty in a synthetic material that has become deeply integral to our human habitat.
Check out TOMAAS’ website for more of his works, including a series called Eco-Beauty, wherein he integrates other materials (such as straw and rope) into his photographic narratives. (Via Art Fucks Me)
Not only was Brad Elterman always present at the right time and the right place, but he also has a story to tell about every moment he captured with his camera. From nearly getting beaten up by Robert Plant’s roadies for getting a shot of the singer in his briefs playing soccer, to the moment Joan Jett flicked him off and thus allowed him to get one of the most quintessential late 1970’s images of rock n’ roll. He’s still shooting like crazy and if you follow him on Tumblr, where he’s quite the sensation, you can check out all of his great photos of yesterday as well as today. Brad Elterman’s photographs will also be on display at Kana Manglapus Gallery in Venice Beach from June 28th – September 10th.
Artist Peter Kogler takes ordinary spaces and converts them into optical illusions with little more than paint and projections. His installations completely encompass the gallery room or public space in which they inhabit and cause it to appear warped, stretched, distorted and twisted. These eye-tricking spaces devour the viewer in their endless lines and pattern while they creates a disorienting effect. Each strategically placed line is created by paint, but also sometimes by a projection onto the walls. Because Kogler’s patterns and lines are often on every side of the space, including the ceiling and floor, they create a powerful and overwhelming environment. The wall-to-wall spaces are completely taken over by lined grids, tubes weaving around each other, and swirling scribbles that create funhouse walls.
The settings for Kogler’s elaborate and impressive installations vary from gallery rooms to subway tunnels. One can truly get lost in these complex compositions trailing all over each wall. Each installation is like a beautiful labyrinth that entraps and engulfs the viewer. Kogler’s work uses mostly bold colors like white and black, and sometimes red. This creates a harsh, stark contrast that allows the optical illusion to be more apparent with a highly dramatic feel. The artist’s talent does not only lie in his incredible installations, but also his sculpture and two-dimensional work. His use of geometrics and line is similar in his other work, which makes them look absolutely stunning when they are exhibited within his installations. Kogler’s multifaceted style compliments whichever medium he desires.(via Illusion.scene360)
Surprising, colorful patches have been appearing on the scarred roadways in Chicago. In an effort to bring art and beauty where once there was neglect and deterioration, artist Jim Bachor embarked on a project to fill potholes with mosaics of ice cream. Named “Treats in the Streets,” each lighthearted piece blends seamlessly into the cracked asphalt. The best part is, as sturdy pieces deriving from an ancient (and enduring) art practice, the mosaics will likely stand up to the test of time. Bachor speaks on his passion for the medium:
Using the same materials, tools and methods of the archaic craftsmen, I create mosaics that speak of modern things in an ancient voice. My work locks into mortar unexpected concepts drawn from the present. By harnessing and exploiting the limitations of this indestructible technique, my work surprises the viewer while challenging long-held notions of what a mosaic should be. Like low-tech pixels, hundreds if not thousands of tiny, hand-cut pieces of Italian glass and marble comprise my work. (Source).
“Treats in the Streets” is also occurring in Finland. In a similar project, Bachor covered potholes with mosaics of flowers. To see me more of his clever and contemporary work, check out Bachor’s website, Facebook, and Instagram.
Emilio Gomariz creates gorgeous videos using simple experiments with digital media. Manipulating software’s such as Quicktime and photoshop, keyboard shortcuts, and various saving and opening patterns Gomariz makes transcendental videos that will make you think “Why didn’t I think of that?”More videos after the jump.
Matt Lipps’ newest body of work HORIZON/S, flips the traditional mode of institutional curating on its head. In this series, Lipps appropriates content from a late 1950s arts and culture publication that promises to offer a curated selection of international culture that will add a sense of sophistication to anyone’s taste. From these images, Lipps’ playfully explores what happens to the meaning of certain objects and images when you remix them into new systems and catagories – altering both content and context. DailyServing’s founder Seth Curcio, recently spoke to the artist about the physical construction of his mysterious photographs, the ubiquity of images today, and how his own taste emerges from the appropriated pages of Horizon Magazine.