Business cards exist as a tangible resource and advertisment for offering one’s trade. Benedetto Papi and Edoardo Satamato of Italian creative agency Invasiona Creativa began to wonder: what jobs would pop culture characters have, and how would their cards look?
Beginning with the idea that these characters (ranging from science fiction to comedy to horror and action films) lost their jobs, how would they rebrand? Although most of the results involve wordplay over any serious retelling of the character’s myth, the results are playful and fun, which seems to be the duo’s motivation.
On their website, the group declares, “A different approach compared to canonical style of advertising agencies: a NERD APPROACH…We will do everything to…give new life to mundane communications, to re-invent social campaigns completely useless, to regain lost contact with the consumer, to open new horizons in the world of apps…” (via mymodernmet)
For the photographer Per Johansen’s new series, the artist shoots plastic bottles filled and overflowing with raw and bloody meat, exploring human consumption and calling into question the ethics of the meat industry. The project, titled Mæt (meaning Full) uses recycled plastic bottles to stand in for the human stomach and appetite; each is then stuffed with chicken, eel, sausage, liver, fish. When viewing this disturbing and probative project, viewers are forced too to consider the morality of using a once-living being in art; if the work makes a statement against cruel techniques in meat production, is it then exempt from the same ethical criticism?
Shot under expert lighting to reveal the textures of the dead flesh, each image reads like a scientific specimen, an objective and disturbing archive of meat production. The stomach-turning images are hard to look at; like organisms preserved in jars and formaldehyde, the meat products look less like food and more like grotesque captives. Their biological beauty is expressed through the ridges of a snail shell; a compressed cephalopod fleshes emerald hues, and the shiny metallic glint of scales presses against the cruel plastic. A pair of eel eyes appear deadened, and an eel mouth seems to open in a silent scream, a head thrust from the bottle neck.
Here, the human appetite for meat is shown as wasteful, the stomach equated with the plastic bottle, an object associated with careless consumption. The work’s website asks viewers, “Are you full now?” This idea brings us back to our initial question: is it humane to use meat for creative purposes, or is it degrading and wrong to use once-living organisms in such a way? Does the answer change when the work is meant to protest human gluttony and the grotesque nature of mass meat production? Let us know what you think in the comments! (via Feature Shoot)
Brian Steinhoff amusingly attempts to turn porn rated-G in his series of collages titled Porn For the Whole Family. He trades human flesh for floral patterns, silhouetting the once-bodies with kitsch designs. Now, we see abstracted shapes on top of beds, in the tub, and against countertops. Steinhoff is more conspicuous about some images than others, and will choose to leave in various sex toys with the masked subjects.
This series raises some interesting observations about censorship. How effective is Steinhoff’s censoring? In some of these images, the mixture of patterns and shapes is confusing and hard to decipher. But other times, the artist’s floral designs do little to shield us from what’s really going on in these photos. He’s keeping us from actually seeing the acts, but we still know what’s taking place and have some idea of what that looks like.
This is reminiscent of bleeping out “bad words” from television shows. Sure, it keeps viewers from hearing these phrases (which they most likely know, anyways), but it doesn’t change the fact that people are cursing and that you can probably guess what they said.
We recently posted the work of Von Brandis, another artist whose project Obscene Interiors reinterprets sexual content. Instead of patterned bodies, silhouettes replace the figures with a vacant, white shape. Where Steinhoff’s handiwork blends in with the photographs, Von Brandis’ erotic activities are in stark contrast to the rest of the image. This makes them differ in application, but also in context. Steinhoff’s use of these kitschy patterns conveys a homey feeling, whereas the other Obscene Interiors removes this association. (Via Flavorwire)
Alaina Varrone‘s embroidery is bawdy, playful, and especially considering thread is the medium, astonishingly technical. Each piece of Varrone’s tells an absurd, humorous, and/or eroticized story. She draw her inspiration from subcultures such as furries, heavy metal, and BDSM, but she’s also inspired by her own life, sometimes inserting herself directly into her work, producing pieces that are part fantasy, part memory. Though some of her work is deeply personal, Varrone executes it with a sense of humor, transforming the serious into the comic. Of her overtly sexual work, Varrone says,
I’ve been doing this for some years now, and this past year or so I’ve noticed more people doing blatantly sexual work, and I actually roll my eyes! I feel like a jerk for admitting that, but I feel like we’re past doing erotic art for shock value.
I still get stupid comments about my work because I’m a woman who does erotic art, I still get men who assume I’m easy or promiscuous because I’m open about this subject, and it doesn’t help that I’m buxom either, so some more ignorant folks just see a big titted woman stitching coitus and get a jolly from it.
I’m trying to capture moments, I’m not just stitching a vagina to be “edgy”, and I like to think my technical ability and sense of humour help to garner respect. I just keep doing what I want to do, I just trust my instincts, so far it’s worked out pretty well!
Faig Ahmed, a visual artist from Baku, Azerbaijan, reworks the aesthetic of carpets, an “indestructible symbol of the Eastern tradition”, by weaving digital patterns onto the already conventional recurring patterns of the traditional Azerbaijani rug.
“Tradition is the main factor creating the society as a self regulated system. Changes in the non-written rule happen under influence of global modern culture.”
Ahmed’s interest in extending this traditional practice to one that alludes to today’s relevant digital imagery is his way of creating new boundaries. By mixing and matching two different aesthetics, Ahmed creates a rekindling of tradition and progress.
In order to create the illusions of glitchy carpet bits, Ahmed superimposes digital patterns onto traditional weaving compositions, these combinations either create rugs with bold optical illusions and/or generate transformations that leave carpets looking like unconventional sculptures.
“To be honest, things I do are not always right and beautiful. I do things without thinking- it’s my instantaneous expression. Changes in the world are instantaneous as well, and that is what I am channeling-ideas that have been formed for ages are being changed in moments- that is what I hope to do with me work. I just make bold experiments, putting them into the art scene, trusting myself and the viewers of my art.”
The artist Amelia Harnas creates dazzling portraits from spilled wine, using embroidery thread to trace and refine her crimson-faced subjects. Like delicate watercolor, the wine has an ethereal texture; the artist admits a certain unpredictability and instability in her unique process. Using wax resist on soft white cotton fabrics to set the images, she cannot determine how long the delicate images will last, and the transient images float like ghosts across the page while thread guides the eye.
Art historically, wine is associated with the god Bacchus, the god of drink and sexuality who inspired mortals to drink to the point of confusion, a state where the lines of identity and gender are blurred. Here, the spilled wine soaks the fabric in such a way that only the slightest mark provides a hint into the distinctive temperament of the subject. It is the thread that defines personhood, outlining the divisions between eye and flesh, hair and scalp. Without the meticulous embroidery, men and women become murky, drunken figures.
The miraculous tension between accident and purpose heightens the drama of each face. The cotton foundation is seemingly drenched in reds and pinks, the colors chaotically spreading throughout the image and creating serendipitous halos around the portraits; in stark contrast, the embroidery is distinctly rational and deliberate, forming complex geometric shapes like concentric circles, squares and triangles.
As the volatility of wine stains collides with the reason and order of human craft, Harnas presents a startlingly complex vision of the human condition. As illustrated in this work, art, like man, is governed by both passion and sound intellect, doled out in equal measure. Take a look. (via Colossal and Oddity Central)
The photographer Roman Sakovich has gotten some heat for his project Half, a series of images detailing the effects of drug abuse, particularly with respect to methamphetamine addiction; his subjects stand, face forward, their lefthand side polished, even proud, while on the right, their bodies are ravaged by scars and scabs characteristic of addiction. The jarring split-personas are achieved not through photoshop but with expert make-up and styling.
The artist has been criticized for his simplified portrayal of drug dependency; by his own admission, the images, in their shocking nature, exclude a more nuanced exploration and rely in part stereotypes. Problematic for some is the fact that the non-addict self is styled professionally in suits and crisp button-downs, while the addict wears more urban attire, the implication being that class and drug use are profoundly connected.
Regardless of the controversy (and perhaps even because of it), the shocking series inspires much-needed and critical discussion on drug addiction, an illness that plagues tens of millions nationwide. Avoiding blaming and scapegoating individuals, the artist provides an intimate approximation of selfhood torn by addiction, one that inspires empathy, not disgust or prejudice.
Sakovich’s subjects, their identities split in two, are as you and I, lead by hopes, fears, and complex yearnings. A doctor, stethoscope slung over her shoulder, hair in a tight chignon, directs a placid glance comfortingly at the viewer; only after allowing our eyes to drift across the print do we see this figure of heath and safety cruelly overtaken by substance abuse, her eye downcast and purpled, a dried lip furrowed and lined. We read these bodies from left to right like strange texts, imagining personal and intimate narratives in order to reconcile the two faces before us. Ultimately, we are left with the powerful warning, “This could happen to you.” What do you think? (via My Modern Met and Feature Shoot)
Each image of What I Eat is accompanied by a detailed breakdown of the meals. The couple featured diverse profiles such as a Japanese sumo wrestler, a Maasai herdsman, an Arctic hunter, a Tibetan yak herder, and a Bangladeshi factor seamstress.
All of the diets, of course, vary by location and availability of food, but also profession. Shashi Kanth (pictured above), an AOL call center worker, relies on fast-food meals, candy bars, and coffee to keep him going throughout the long nights as he talks to Westerners about their technical issues. This stands in stark contrast to Bruce Hopkins (also pictured above), a Bondi Beach lifeguard in Sydney, New Whales, Australia. He eats moderately and hardly ever enjoys fast food or alcohol. (Via Amusing Planet)