Photographer Florencia Durante’s series uses light to wrap her seated subject in a brilliant spectacle of energy. It appears as fractured, gestural drawings that dances on the floor, up the bald man’s (named Ruso) legs and sometimes around his head or out the door. The white-yellow spirit is erratic and is chaotic.
In addition to having a drawn quality to them, these photographs are sculptural. Durante builds up form and by layering line upon line, taking into consideration the contour of the knees and the head. She creates a halo and a veil around her subject.
The light seems simultaneously helpful and terrifying. Ruso sometimes sits idly as it moves around and throughout him. Other times, he has his head in his hands waiting for impending doom.
English photographer Jonny Sutton creates subtle but powerfully symbolic photography that alludes to various themes including the quotidian, sexual experiences, and memory.
Athough Sutton is interested in depicting scenes that are familiar to past personal recollections, the haziness and [sometimes] cinematic feel of his compositions make the viewer feel disjointed and distant to what they may otherwise feel very familiar with. Sutton’s recent series, Remains and Pornography, explore the memory of sexual experience through objects and familiar scenes that may trigger flashbacks to ones own past regarding sexual involvements.
Remains focuses on sex and the relationship it has with our surroundings. His photographs record the aftermath of a night of passion. By photographing what is left behind, the artist creates an interesting narrative that again brings the viewers to remember with hazy and distant thoughts.
His other series, Pornography, explores the themes of sexual documentation, pornographic films and violence, and the sexualization of children. In this case, Sutton uses a Barbie Doll and manipulates it in a way that presents the viewer with subtle, but obvious sexual positions. The artist’s prop here works as both the subject of his composition but also as a very important part of his concept and main messege. The dolls’ body, identifiable with the female form and a child’s innocence, is easily taken and manipulated to reenact sexual positions. This might be a reference to rape or a man’s power over a woman/child, however, its meaning is unclear and not explained by the artist himself. Nonetheless, it is certainly a logical conclusion to come to. Moreover, Sutton’s way of blurring the images leaves the spectator to witness a sequence of events that are blocked off and partially remembered [on behalf of whom is theoretically experiencing that manipulation,etc]. On the other hand, from an outsiders’ perspective, we acknowledge that the intrusiveness of the camera, or our gaze, in this case, is what makes the work the ultimate source of manipulation.
The Paris-based sculptor Elisabeth Daynès listens to bones, to the remains of our evolutionary ancestors that have lived up to three million years ago. Throughout her prolific 20 year career, the “paleoartist” has worked from the skulls of wooly mammoths to species of hominid to create vividly detailed figures. Based on 18 data points that mark the bone, she can use a computer to model facial features that she later shapes out of clay. She refers to research and other bone samples to determine the build of her subjects, and ultimately she creates a silicone cast, complete with delicate painted features: veins, goosebumps, blemishes.
In a final step towards humanizing her sculptures, Daynès includes prosthetic eyes, teeth, and hair, each of which is as historically and scientifically accurate as possible. Current research suggests that Neanderthals, for example, had red hair; for her uncanny hominids, that range from Homo sapien to Homo erectus, she uses a blend of human hair. In her mind’s eye, the artist draws an informed portrait of each subject she reanimates; from the bones, she can determine period, sex and age, along with finer details like culture, climate, diet, and health.
For Daynès, this process is as much an art as it is a science. Ultimately, she hopes to reconnect with our past, embarking on a forensic search of what makes us human. Dismayed by the ways in which early human ancestors are reviled as unintelligent brutes, she injects her creations with a powerful dose of humanity; their brows furrow with concentration, and their eyes are painfully gentle. She explains “missing” them when they leave her studio for a permanent home in a museum. Take a look. (via Daily Mail and Lost at E Minor)
Zahir Batin’s delightful series of photographs is sure to get you excited for the upcoming release of Star Wars: Episode VII. When the artist bought a Canon EOS 1000D in February 2012, he had no idea that he would discover a passion for shooting miniature Star Wars scenes, but sure enough, he has since created a whimsical body of work cataloging the misadventures of Jedi, Sith lords, clones, and droids.
Batin’s work is certainly humorous, serving to decontextualize the often fearsome characters. A pack of clones is shown to be comically miniature beside a group of adorable ducklings; one even kindly offers a leaf to the giant baby animals. During their time off, they play with their vehicles like a group of rowdy teenage boys. For a more relaxing evening, they unwind riverside and confide in one another in a language inaudible to human viewers.
Despite the comic conceit of the miniature work—and perhaps even because of it—Batin imbues his imagined scenes with a poignant humanity and deeply-feeling heart. After a day of play, the clones lose a companion, and their heads move toward the sky in despair. After digging a grave, they place the fallen man’s tiny helmet above the moistened dirt and position a carefully-crafted gravestone at the head. In a moment of grief, they press their armored bodies together and embrace. Through Batin’s emotive lens, these small action figures, normally beloved only by children, become sentient beings with whom we can relate and empathize. Take a look. (via KoiKoiKoi)
On a subway, personal space is a luxury that you don’t always have. People invade your “bubble,” and while annoying, it can be especially problematic for women. Artist Kathleen McDermott set to even the playing field with her Personal Space Dress, a garment that physically extends the space around a wearer’s body.
This dress is the second in a series titled Urban Armor. It’s a relatively simple concept with technology integrated into its design. When proximity sensors identify that someone’s too close, the sharp plastic scaffolding within the garment causes the hemline to expand outward. Anyone who’s in its area will be ushered away by a patterned-pink skirt.
McDermott got the idea for garment while living in Hong Kong where she’s currently finishing her MFA. Interested in wearable technology, the artist wanted to expand its purposes beyond something that only techies might have. She tells Co.Design, “Taking a photo of your sky diving experience while wearing Google Glass is awesome, but it’s really a small minority of the population that will have this experience. I wanted to explore how wearable technology could impact your physical world, and help the wearers, specifically women, exercise more control over their surroundings.”
While it doesn’t excuse and or solve the problem of sexual harassment on public transportation, it certainly makes a clever point. McDermott plans on making instructions and code for the Personal Space Dress available for download. So, theoretically you could make one of your very own and give yourself some extra breathing room. (Via Co.Design)
Colombian photographer Daniel González captures the simple, joyful and freeing experience of being one with each other and with our natural surroundings. Through juxtaposing scenic, untouched landscapes and nude bodies, the artist tries to create parallels between the natural state of our bodies and the natural behavior of wild and beautiful forests and gardens. It is evident that the given the setting, a nude body transcends any bad connotation and relates, rather, to a truer conception of reality and of the human body.
The message becomes a bit more clear once we’ve caught up on the patterns throughout the series. For instance, we notice that the women featured are not only naked, to manny a symbol of freedom in itself, but they also showcase their bodies in freeing, vulnerable, relaxed poses- all indicative of becoming who they truly are, in the most natural way possible.
Informed by his education in biochemistry, photographer Linden Gledhill concentrates his work on the beauty of small, natural objects. With a fully automated macro focusing rail called StopShot (created by Cognisys), Gledhill is able to capture a high resolution macro image stack that is accurate down to 0.01 mm. With this specialized lens, Gledhill explores the structures and textures of butterfly and moth wings, exposing the shimmering and glittering form of the wings that almost look like textiles or flower petals. Beautiful patterns emerge from Gledhill’s photography, ones that mirror large and familiar patterns found in the world around us. You can see much more of Gledhill’s incredible macro photography on Flickr. (via slow art day)
For her series Beautiful Bodies, the photographer Agnieszka Rayss shoots off-beat images of bodybuilders; in the process, the artist both defines and challenges the notion of physical attractiveness. Each provocative shot, capturing a builder scantily-clad in a bikini or a speedo, is a powerful testament to the human desire to craft our bodies according to our wills; depending on the viewer, they might read as either a condemnation or an affirmation of extreme fitness practices.
Unlike Brian Moss, whose enchanting portraits of bodybuilders can be found here, Rayss works within a distinctive color palette; rich copper, teal, and white hues dominate her images, granting them a moody and otherworldly quality. Rayss’s subjects all seem to rely heavily on bronzers, defining their muscled figures with deep tans. In this way, they look inhumanly sculptural, like bronze statues of ancient warriors. Their metallic sheen stands in place of clothes; though nearly nude, they look somehow impenetrable, thickly armored.
Beautiful Bodies is set in an undefined location that we might presume to be a gym. Against a muddy-colored wall, the bodybuilders appear rough and powerful; the walls are marked with their chalky handprints, lending the models some inherent and mysterious grit. In relative repose, Rayss’s subjects display their bodies, caught between moments of exertion. As viewers, we are forbidden from seeing the extreme exercises that caused paint to be scratched away from the gym surfaces, but the mere presence of these formidable bodies create an atmosphere of inescapable suspense and anticipation. Take a look. (via Feature Shoot)