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Sabato Visconti’s Glitch Art

Sabato Visconti - Photography

Sabato Visconti - Photography

Sabato Visconti - Photography

Sabato Visconti - Photography

Sabato Visconti is a photographer, visual artist, and digital puppeteer. He fine-tunes his art on an atomic level by using a number of techniques that manipulate code and scramble pixels into what is often surprising results. “Glitch art,” as the aesthetic is called, uses a palette of static, snow, and other shadowy artifacts to create art that is, despite its hi-tech nature, exceedingly organic.

The intense colors and bio-rhythmic patterns that emerge from Visconti’s glitched-out photographs are raw and still retain an emotional connection to their subjects. Some are more abstract, emerging like clouds of texture that seem by turns woven and crumpled and, when it gets particularly noisy, crunchy. Though it might be counterintuitive, it makes sense that glitch art is organic; after all, artifacts in old-school photographs and film footage have always occurred spontaneously. Now, artists are harnessing that force of microcosmic nature and using it creatively.

“You’re trying to find this really fine balance where something doesn’t break fully, but breaks just to the point that you can see it breaking,” Visconti explains. The tension between form and disintegration is palpable in his work; at times, it’s like staring into a digital void or a watching a snapshot of an identity crisis. He takes it one step further in a collection called, “Vertigo by Alfred Glitchcock,” which takes stills and remixes them into evocative visual mayhem.

Do androids dream of electric sheep? If they do, then this is what they see when they close their eyes.

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Everyday Lorraine Loots Creates Intricately Detailed Paintings The Size Of Your Fingernail

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Looking at these paintings out of context, you might not know that they are very small. In fact, sometimes these works are no larger than a coin or someone’s fingernail. Artist Lorraine Loots says that she creates “paintings for ants,” but you wouldn’t necessarily know it at first because of their intricate details. They have as much visual information as paintings 10 times their size.

Every day, Loots posts a new small picture to her Instagram, @lorranieloots. It’s always of an impossibly tiny subject and the caption features information about what they are and what we’re looking at. Loots realistically-rendered cars, landscapes, boots, birds, statues, and much more. The small scale is a nice twist on what we’ve seen before, and here the short explanation helps, too. “Paintings for ants” is an amusing thought, and one that’s entirely possible given the size.

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Johann Bouche-Billon’s Cathartic Process Of Documenting His Grandfather’s Death

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Johann Bouche-Billon’s photo-series Photos of my Grandfather Dying is daring in its intimacy and complete honesty. When his grandfather was diagnosed with terminal cancer, Johann used his artwork in an attempt to wrap his head around what was going on. Of all his grandparents, he was closest with this grandfather, and had never experienced a death so close in his family. Although death is a reality of life, many if not all of us have difficulty accepting it, and Johann experienced anxiety attacks and confusion at the fact of his grandfather passing. The series provides an opportunity for healing and understanding, not only for Johann, but presumably anyone experience the death of a loved one. Originally, Johann was nervous that people would take offence at such a personal subject, but has said that the series has been received well.

His photo-series is extremely revealing, and it requires a great deal of bravery to show it to an audience. The photos show his grandfather at various stages of his deterioration, with loved ones or alone, but there are also a great deal of what you could call b-roll interspersed in between. The b-roll – consisting of photos of a food spread, a television, a painting of jesus, etc. – allows moments of contemplation or rest, for the viewer and probably for Johann himself. It makes the process seem more natural, instead of only presenting chronological photos of his grandfather, he lets you breath and wander through traces of his family and the scenes surrounding the events. The series itself is 107 photographs, and so the selection of images I’ve curated for this article is disproportionately weighted towards photographs of Johann’s grandfather. In the end, he is the subject of greatest importance, but I highly recommend checking out the entire series here, it’s extremely moving. (Via Vice)

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Daughters Of Devotion: The Art Of Dressing For The Occasion

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“Nighttwins” Laura and Kindra have been helping keep the New York nightlife scene alive for over seven years. Better known as Daughters of Devotion, this pair originally from Seattle, dress up, act out, perform, inspire and create installations. Combining their interests in romantic/fetish fashion and showroom/glam drag, these two extroverts quickly bonded over a mutual love of creating twin-themed costumes.

Setting out to be more than just colorful characters, Daughters of Devotion have created a brand and an unusual type of business for themselves. They have performed with Cher, been nominated for a Glammy, featured on the cover of Next magazine and have even lain on the beach in Hawaii with Carmen Electra. Proving to be much more than just part of the ‘club creature family’, DOFD have surpassed their own expectations of where their flamboyant passions would lead them.

“We draw inspiration from so many sources. Couture designers through the ages, vintage patterns, showgirl pageantry, Dolly Parton, John Willie, nightlife artists present and past, fetish, cartoons — you name it…. The looks we conceptualize, create and present to the world are living works of art to be admired for just a moment in time; especially because we rarely repeat looks. “

Loaded up with jewels, face paint plastered on, eyelashes applied, belts buckled tightly, and stockings hoicked up high, Daughters of Devotion are a celebration of the wonders that go on after dark. Equal parts entertainment, and artistic expression, these two women are their own subculture, their own art genre, and certainly are a sight for sore eyes.
(Via Huff Post)

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Sweetly Satirical Photos Of The World’s Best Father And His Daughter Alice Bee

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Dave Engledow is the world’s best father. He even has the book to prove it. Engledow’s ongoing photo series “documenting” life with his daughter Alice Bee is dangerously charming. Initiated in 2010, when Alice Bee was about six weeks old, Engledow has Photoshopped the pair into absurd, perilous, and touching scenarios. His wife Jen helps with every shoot, sometimes entering the frame.

“It’s funny-my initial intent with these images was to create something a bit darker that subverted the cutesy, overly-poignant clichés you see in a lot of traditional baby portraiture. I never intended for this project to be a heartwarming, feel-good story. Ironically, what a lot of people tell me they take away from these images is the obvious love that I have for Alice Bee-people see beyond the silly, satirical character I portray in these images and instead see a father who has decided to spend his precious free-time creating something special and unique for his daughter. I guess that’s pretty cool, if unintended and unexpected.” (Source)

To create the images, Engledow shoots Alice Bee first, a process that can take anywhere from 10 minutes to over an hour. He then photographs himself and digitally combines the images, which takes between 5-15 hours depending on the complexity of the shot. The series first gained attention in 2013 when Kickstarter featured his campaign to turn the photos into a calendar. Confessions of the World’s Best Father, the book, followed in May 2014.

“The character I portray in this series is intended to be a parody of the father I hope I never become–distracted, self-absorbed, neglectful, clueless, or even occasionally overbearing.” (Source)

Part perplexed, part demented, Engledow commits to his role as bumbling dad. The result is a labor of love that captures the unique bond between father and daughter.

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Killer Heels Exhibit Shows 400 Years Of High Heel Evolution

Chau Har Lee. “Blade Heel,” 2010. Perspex, stainless steel, leather. Courtesy of Chau Har Lee. Photo: Jay Zukerkorn

Chau Har Lee. “Blade Heel,” 2010. Perspex, stainless steel, leather. Courtesy of Chau Har Lee. Photo: Jay Zukerkorn

Noritaka Tatehana. “Atom,” 2012–13. Faux leather. Courtesy of Noritaka Tatehana. Photo: Jay Zukerkorn

Noritaka Tatehana. “Atom,” 2012–13. Faux leather. Courtesy of Noritaka Tatehana. Photo: Jay Zukerkorn

Winde Rienstra. “Bamboo Heel,” 2012. Bamboo, glue, plastic cable ties. Courtesy of Winde Rienstra. Photo: Jay Zukerkorn

Winde Rienstra. “Bamboo Heel,” 2012. Bamboo, glue, plastic cable ties. Courtesy of Winde Rienstra. Photo: Jay Zukerkorn

Iris van Herpen X United Nude. “Beyond Wilderness,” 2013. Courtesy of United Nude. Photo: Jay Zukerkorn

Iris van Herpen X United Nude. “Beyond Wilderness,” 2013. Courtesy of United Nude. Photo: Jay Zukerkorn

Killer Heels,” a new exhibit at the Brooklyn Museum, traverses the decades from the 17th century up to now, displaying iconic shoes such as Marilyn Monroe’s stilettos alongside modern 3D-printed heels by designer Iris van Herpen. Needless to say, these heels put the “haute” in “haute couture,” one of them featuring 8-inch stilettos that forces the wearer on her toes. Another, a pair of Manchu platform shoes, look almost like jeweled music boxes set on pedestals.

Over the years, high heels have become a complex and controversial symbol, by turns fetishized and reviled. To explore this complexity, the 160 pairs in the exhibit are diverse. On the classical end of the spectrum, French shoes from the late 17th century are modest, with muted colors and crafted from silk and leather. Some heels are more whimsical, like the bright red “Eamz” by Rem D. Koolhaas, which brings to mind the plush vinyl of stools at a soda fountain. The Block Heel from Balenciaga strikes a more classic pose, looking infinitely wearable next to the elegant but tortured lines of Walter Steiger’s “Unicorn Tayss.”

According to Lisa Small, who organized and curated the exhibit, the heels are “difficult aesthetically or meant to be making different kinds of statements rather than the prototypical sexy stiletto.”

Killer Heels elevates the high heel to something more than an accessory. Museum-goers will contemplate its cultural identity, form, and function. They will marvel at the various incarnations from pump to peeptoe. And, upon leaving the exhibit, they will breathe a sigh of relief and thank the powers that be for the invention of the humble sneaker.

The exhibit will be on display until February 15, 2015. Visit the Brooklyn Museum online for directions and details regarding admission and museum hours.

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Claire Rosen Inserts Herself Into Dark Version Of Classic Fairy Tales

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Photographer Claire Rosen uses self portraiture as a way to transport the viewers into a world of fairytales. Through her aptly named series Fairy Tales and other Stories, she creates fantastical worlds where the isolated subjects surround themselves with scenes of nature, piles of books, and more. Often, their faces are obscured in the darker, more introspective version of these classic stories.

Rosen’s work mirrors her unconscious, and she explains in her artist statement:

Inside my dreams, I am someone else.  I create characters, like alter egos, presented as recognizable archetypes.  The figure inside the image often looks away from the viewer, the face hidden by the turn of the body or by a mask.  I hope that the viewer will imagine themselves inside fairytale, and interpret the narrative of the image as one might interpret a fairytale, searching for hidden meeting inside the story.

 

This series speaks to living in the 21st Century, a time when we are constantly bombarded with noise, information and moving images.  Still imagery, by contrast, allows us to shut out the noise and hear ourselves.  I use photography to both escape and convey the overwhelming nature of our modern reality.

 

The pastoral setting of this work recalls a simpler time, while reminding us of humanity’s attempt to conquer the enormity of nature.  I draw on themes in classic fairytales – beauty, chastity, and passivity – not as a comment on post-feminism, but as an expression of a more universal experience.  My aim with the use of folklore is to suggest the continuity of the human condition: outside, the physical world changes with dizzying speed; inside, our cerebral world remains timeless.

Visit Rosen’s website to see even more of Fairy Tales and other Stories, and follow her Instagram to see more whimsical imagery.

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Mithu Sen’s Great Wall Of Teeth (And Other Visual Poetry)

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Mithu Sen did not begin her career in visual expression. Her work has evolved quite a bit to get to the point of creating an 80-foot long installation that is essentially one giant denture. She began as a poet, inspired by her mother, writing in Bengali as a child. She was published quite a few times before she moved to Delhi and began to lose her connection to her mother tongue. Afterwards, she made the transition to “artist.”

Her artwork now is often categorized as highly sexual. She has said of this: “I don’t really care if my sexual works are the reason people are looking. Sexuality is the means by which one can enter the self and the psyche. The so-called sexual overtone in my work is to provoke and trap people, to force them to see and to contemplate. I’ve tried to bring tabooed sexuality out of the closet… I try to draw sexuality from both living and inanimate objects.”

Definitely her work pushes boundaries, but in her drawings as in Border Unseen (the tooth wall) there are details and subtleties to be discovered beneath the most obvious aspects of her work. On Border Unseen, little figurines of people, skulls, toys, etc. of similar dimensions to the teeth, are camouflaged all throughout the installation. Likewise, although her drawings are overtly and uncomfortably sexual – as in the piece where a finger seems to be inserted inside an animal within which is another animal – if you are able to overcome the initial disturbance, there’s a great deal of tenderness below. Although the work is challenging, it is not so heavy-handed, and always demands more open-mindedness of the viewer; always a worthwhile exercise. (Via BOMB Magazine)

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