Emilio Fos is a graphic designer and illustrator, born in 1980 and based on Valencia (Spain). He is Currently working as a freelance designer.
Natalia Evelyn Bencicova is a Slovakian photographer who creates works of surreal beauty and supernatural unease. Characterized by dark, sterile rooms built of tile and cement, her settings are eerily reminiscent of abandoned hospitals and vacant catacombs. The models are washed-out and almost alien in their beauty, contorting as they pose nude, or draped in cloth with additional limbs that reach from underneath. They appear human, but also inhuman — and no better is this obscuration of humanity demonstrated than in the images portraying piles of nude bodies sprawling on the floors, crawling up against the walls, or aligning themselves in fleshly, geometric structures. With their faces obscured by torsos and furniture, they seem engaged (or possessed by) a strange ritual that is more about the multitude than the individual.
Part of what makes Bencicova’s work so powerful and provocative are the environments and quasi-theatrical narratives she creates. The hospital-like settings foster an atmosphere that is unsettling for the psyche; writhing and embracing on cold floors or groping at sterile furniture, the characters resemble ghosts in an abstract, emotional ballet. In some of the images, the bodies look like they have been stowed away and forgotten, and are struggling to survive. But in all of Bencicova’s works, there is a haunting magnificence, a reverence for the strength of the human body, and an “opening up” of beauty that extends into the alien and absurd.
Czlowiek Kamera is not this photographer’s real name. In Russian the name means “human-cam” or “cam-man,” and was sourced from Vertov’s “Man with a Movie Camera.” This human-mechanical fusion can be identified throughout Kamera’s compositions, at least in the way he fuses his human subjects with the camera’s manipulation of them. His photographs are surreal and mystical, and remind me a bit of Kyle Thompson’s aesthetic. Kamera specializes in recording live music performances, including artists Sigur Rós and Fever Ray. Check out his Flickr for more photos.
Stephen Silk began practicing gyotaku in 2008. Gyotaku is a Japanese printing method that uses actual fish to make art. Ink or paint is rubbed on the fish allowing an incredibly textured print directly onto the paper. The lumped paint and palette match the New Hampshire coastal seascapes in oil fusing a really cohesive collection completely reflective of the area and its subjects.
Artist Matt Barton graduated from Carnegie Mellon in 2006, spending his time there setting up mechanized taxidermy animals in strange and colorful situations. In “Time-O-Rama: Electric Infinity with Real Plastic,” made in 2006, there were 20 of those said motorized animals, two video projections, 5 sound cd’s, flowers blooming, leaves falling and changing colors, lightning and thunder, wine was dispensed from a nozzle sticking out of the deer’s ribs…and a partridge on a pear tree. That last one I added myself. Matt has also collaborated with Extreme Animals, hyper bitmosh-rock-band of artist Jacob Ciocci (Paper Rad).
Swedish artist Leif Holmstrand’s oeuvre is filled with crocheted and knitted sculptures, terrifying performances, washing line installations and dangling babies. He also writes excellent poetry- an artist and writer who puts Malmo on the Sweden Maps and in the very near future on the world map!
In self-described “experientialist” artist Lee Walton’s most recent project (though on his Vimeo, it seems the last upload was 9 months ago…), he will perform what his Friends on facebook are doing. This online project will only be viewable to those listed as Friends on the web site. The man is hilarious and ridiculously clever- I’ve added him as a friend, so should you!
Photographer Maja Daniels is studying aging. Her photo series “Into Oblivion,” shows the raw and fragile lives of those living in an Alzheimer’s ward. Working in a geriatric unit in France, the Swedish photographer Daniels spent three years documenting life for the residents. Those suffering from Alzheimer’s were kept in a locked ward as a protective precaution due to their innate tendencies to wander and get lost.
“This series documents not only the day-to-day challenges in an often ignored sector, but also the wider implications of the growing populations of elderly in modern society as an increasing life span has coincided with the breakdown of the family unit. These aspects have caused a growing disregard for the elderly, swept aside by a commercially driven, youth-obsessed culture. As growing old and being dependent is more taboo than ever, the geriatric institution hides our elders away, safely out of sight.”
“While giving a vision about what living with Alzheimer’s in an institution might mean, I want to motivate people to think about current care policies and the effects it can have on somebody’s life. This project gives a rare insight to a part of the modern geriatric institution. It attempts to create a discussion about our institutionalized, modern way of living as well as the use of confinement as an aspect of care.”
(Excerpt from Source)