Brittany App is a photographer, avid travellist and life catalyst. Although she hails from in and around the central coast of California, Brittany is always on the move whether it be by plane, boat or bicycle. This image maker is full of life and the vibrancy she exudes is reflected directly back into her images via the welcoming faces of the people she photographs, such as the faces shown here from her London series. You can follow Brittany’s latest photo-documentary project as she prepares for her coast-to-coast bicycle tour – scheduled for the fall – in effort to raise money for her favorite charity, Water Aid.
Amsterdam based Jasper de Beijer constructs detailed scale models and staged sets, which then create a specific and entirely made-up image. De Beijer’s work stems from a fascination with the pictorial and photographic information of foreign cultures and former historical periods. Each series is specifically inspired, but ends with photographs that are dreamlike and not quite real. De Beijer focuses on real cultures and events that are removed from his own personal experience, dealing with the character of information that is created by photography. The distance created between artist, viewer and subject matter is further built upon by De Beijers staging process to build a bridge from “there” to “here”.
Both artist’s work share an obtuse unearthly charm as a common language, and their work promises to have an energetic and productive conversation in their upcoming exhibition.
Great show up at FFDG in San Francisco right now. Eric Shaw and Henry Gunderson spent a couple weeks on the beast coast cooking up some vibey abstractions for us and now they’re ready to be seen! Both artist’s works definitely play off each other really nicely, and if you’re out in SF, this one is not to be missed. See more from the show below.
Tomohide Ikeya is a Japanese photographer whose underwater nude portraits walk the line between serene beauty and the terror of death and drowning. In three series, titled Wave, Breath, and Moon, Ikeya explores the body interacting with the ocean in various ways: struggling on the shore, reaching for the surface, and surrendering to its darkness. The images are disturbing in a poetic way, depicting people expressing the primordial will to survive, while others curl up and quietly succumb, turning the surrounding water into a simultaneous womb and deathbed. Breath — that vital act — often goes unnoticed, but Ikeya’s work makes it visible in the form of bubbles, open mouths, and deathly stillness. “Perhaps the essence of life, granted to everyone, is to live while struggling against death,” Ikeya writes in his description of Breath. “Life is not just about visible beauty, but also about true strength, which we have from birth” (Source).
For Ikeya, the neutrality of water makes it the ideal medium in which to explore the rhythms of survival. Water gives life, and also extinguishes it. “Water is not the Mother of Creation or the Master of Destruction,” Ikeya states; it simply exists as an essential but unfeeling element (Source). By photographing the body in a physical struggle against water, Ikeya’s works are dark portraits of the value of life and the concurrence of death. The boundaries between unforgiving “nature” and the indestructible “human” are literally subsumed, washed away into emotional and physical gestures of life-defining resistance against — and fatal integration with — the ocean. The moment of struggle becomes the affirmation.
Photographer Jeffrey Milstein takes his architectural eye thousands of feet up in the air and captures the New York and Los Angeles skylines like you’ve never seen them before. He gives us more than just a bird’s eye view of both familiar and unfamiliar buildings; his photographs are artistic compositions within themselves. Milstein shows the intricate symmetry, lines and details of architecture which are not always visible from the ground, and by doing so allows the structures to become landscapes of their own.
He not only gives us an original visual angle but also a deeper look into the craft of architecture itself, from the repetitive structures of suburban LA homes to the angular beauty of the Empire State, the colors and textures of the building materials are both in harmony and contrasts with the natural elements surrounding them. The trees surrounding the bases of the buildings almost become accessories, they accentuate the craftsmanship and thought of architectural feat, housing and industry.
What Milstein has done here is captured the essence of our times, a combination of nature, artifice and something in between. By doing this, he has also managed to bring architecture to a more accessible level, by elevating the audience above the buildings in a way that makes their intricacy more simple without letting it loose its character and distinct characteristics. Beyond this, Milstein has managed to make a point: there’s only so much we can see for where we stand.
See Jeffrey Milstein’s work in person at Kopeikin Gallery in Los Angeles from July 18th-August 22nd.