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Stephen Mellor’s Distracted Situations

UK based artist Stephen Mellor creates conceptual dream-like collages using both digital and traditional methods.

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Street Art Interventions To Disrupt Your Walk In The City

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To the street artist known as R1, the city is a living thing and he creates his ‘interventions’ accordingly.  The city and its streets are something we interact with each day.  R1’s simple interventions reveal our relationship with our urban homes.  Perhaps more importantly, though, it challenges us to interact with the city in an entirely new ways.  R1 says of his process:

“I consider the street as an open canvas. I work with urban interventions and collect every day found materials, transforming them and placing them back where they came from, to become a part of the city’s journey. The resulting artwork is tactile, moving within the motion of the cityscape.  Like the street, the work finds its meaning once an interaction with the passer-by takes place.”

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Melissa Smyth Powerfully Juxtaposes Self Portraits, Bob Dylan Lyrics, And Texts From Her Rapist

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Melissa Smyth’s photo series, Lay Lady Lay, portrays a set of eighteen self portraits taken with Fujifilm FP-100C instant film. Each picture is preluded by lines from Bob Dylan’s classic love song, Lay Lady Lay, and subtitled with text messages from her rapist. At first glance, her images seem like whimsical coming of age depictions of confused and painful love. Yet, while further committing to the work and understanding each image within its context, the series begins to unravel a intricate, subdued truth. There is a raw honesty that allows the viewer to enter into a realm of undeniable complexity. The work almost allows the viewer to follow a stream of psychosis and true disillusionment as he or she grasps the words written by the rapist. While entering back into the portraits, the viewer must then re-imagine those words not just from him, but then through her, who, despite being the victim, has been forced to address blame. There is a constant shift of consciousness in the work, truly getting to the heart of an endlessly difficult subject. Even further, Bob Dylan’s Lay Lady Lay,  allows her to illustrate another layer of convolution. When re-appropriated into this series, the love song begins to take on new meaning. Through the isolation of the lines, a subtle forcefulness is revealed, noting that there is a dark, perhaps unspoken, overlap between love and obsession.

Melissa Smyth‘s series acts as a genuine representation of a deeply complicated issue, that regrettably, is not uncommon and often not spoken about. She uses her work not only as a means to create a discourse on the topic, but also as a means for self recovery and empowerment. She states;

“I use photography to understand and express the ways in which looking and desiring can make an object of the body, and the ways in which images can be used to resist this. To photograph my own body allows me to not only reclaim control over my self-image, but also to comment upon the objectification that occurs though forceful violence and emotional manipulation. The project ultimately is not about my rapist’s actions, but about my strength and growth. I’ve been inspired by other survivors of sexual abuse and gender-based violence, and hope to add to the voices speaking in solidarity and in strength for all of our liberation.”

 

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Carrie Schneider’s Photographs

Chicago and Brooklyn based photographer Carrie Schneider’s ambiguously complex narratives.

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Justin Bartlett

Justin Bartlett is self proclaimed black ink warlock from the grim and frostbitten ravenrealm of Southern California who enjoys thee grimm riffs, vberkvlt metals, and other dark musick, times of solitude, skulls, and scotch. He’s done work for indie (and I mean indie) bands and record labels. Pretty awesome. Here’s a quote he leaves you with: “EMBRACE VISUAL HELL!!!”

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Erin M Riley’s Naughty Handwoven Tapestries

Philadelphia based artist Erin M Riley creates incredible handwoven tapestries with hand dyed wool on nylon warp.  Her work touches on issues of death, self exploitation through gender and the internet, addiction, and loneliness.

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Child-Sized Mannequins With Projected Faces Portray Displacement In The Photographs Of Ursula Sokolowska

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If you had a sad childhood and wanted to make art about it look no further. Urusla Sokolowska has already done it for you. Taking child-sized mannequins and projecting images of her young face onto to them she explores the displacement and alienation she felt as a kid immigrating to the US from her native Poland. In her series The Constructed Family her messages are subtly and darkly humorous. By placing the figure in locations which do not hold cheerful memories for Sokolowska, we are reminded that art does indeed have cathartic powers and is a positive way to confront our demons. Her locations speak for themselves; a basement, a lonely street corner, a neighbor’s house, an alleyway, a bed. These domestic scenes which provoke unhappy memories are powerfully done from the perspective of an innocent child. Displacement is a serious feeling and perhaps even worse for a child who doesn’t have much control over their situation.

In moody dim lit photos, Sokolowska projects what she remembers from that time. Titles give hints but to the observer it’s clearly obvious what she’s thinking. We always hear about happy childhoods or outright abusive childhoods. Rarely do we hear about sad childhoods caused by normal occurrences that happen to families every day. Sokolowska brings this new dynamic to life with her powerful thought provoking images.

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Scar Boy

scar-boyscar-boy-2scar-boy-1Beautifully rendered drawings of women, clusters of wartime machinery, and mushroom clouds of weapons by Chris Scarborough.

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