Disturbing creatures and creations bursting out from the photographs of Sarah Sitkin. The Los Angeles based artist renders dark and intriguing images that entice and generate space for introspection. The subjects of the photographs represent the kind of ugliness that attracts. She leaves it to us to draw the limit of where hideous stops and beauty starts.
Sarah Sitkin edits digitally to a minimum. Limiting the use of photoshop, she hand makes most of her props. Costumes, artificial body parts, dramatic lighting and projections are invented by instinct to fulfill the artist’s desire to give birth to her vision. Within the gloomy set up, symbols which seem dear to the artist appear sporadically. Geometric patterns such as triangles and diamonds mimic genitalia shapes. Body parts; fingers, skin and facial features are twisted and rounded until they don’t make sense anymore.
Leaving reality to reach her fantasy world, Sarah Sitkin is inviting us to come along and share her journey. Inspired by Jodorowsky and Kubrick movies, she says she is captivated by images more than plots and dialogues. The photographs do not reflect agression or anxiety. They are the depiction of Sarah Sitkin’s unique field of vision; one where deformation and anamorphosis constitute the basis of an aesthetically beautiful inner world.
YACHT is a Band, Belief System, and Business conducted by a duo with presence in of Marfa, Texas and Portland, Oregon, USA. All people are welcome to become members of YACHT. Some items on the YACHT Mission Statement include but are not limited to: “YACHT is about group consciousness. YACHT is about the individual man or woman. If you believe these assertions to be contradictory, consider the Triangle: it is both a collection of points and a shape…the Triangle is also a concept map between three points. But it is not merely a concept…YACHT encourages online dissemination of all things…YACHT IS NOT A CULT.”
It all sounds and looks mildly trite but sort of very genuine in its childlike and enthusiastically declared motto like kids declaring a new land for themselves on a treehouse. The video is shot with some incredible hi-def camera and it’s crispness makes it serious and funny at the same time. There’s also a really awkward (and not very appealing in my opinion) desert makeout scene towards the end.
Brooklyn based artist Melissa Zexter combines photography and hand-stich embroidery to create layers of narrative and texture in a unexpected and colorful way. Zexter, an MFA holder in photography, redefines her practice, as she creates a new artistic concoction that provides more context in the already-narrative medium that is photography. The use of embroidery is a reaction to the photographs themselves, a way to overexagerate or emphasizes different aspects of the images.
For me, sewing was another way to build up a surface and to build upon the content of my photographs. I loved the meditative process of sewing – it was in such contrast to the technologically more immediate art of photography. The combination of sewing and photography brought together two very different processes that I love. The use of embroidery is a reaction to the photographs and is a process that aids in the transformation of identity of the person or place being photographed.
Some of the photographs she uses are digital prints and others are gelatin silver prints that she make in a darkroom. The thread, which she uses to compliment the images, primarily acts as a connection between the person/place captured in the photograph and the artist herself.
I always think of the photograph as something from the past and the thread as a reaction to the past and present. The thread makes the photograph more personal to me and allows me to meditate on the image. Combining the two mediums (photography and sewing) allows me to reinvent the photograph; to visually react to a person or a place.
Left: “Lucifer” fullbody harness and “Starlight” bloomers. Right: “Cult” bloomers, “Coven” bralette, and “Demonic Possessions” shoulder harness. Photo: Sean Higgins
Teale Coco is a Melbourne-based designer, photographer, and international model who has crafted her own dark and fascinating brand of handmade accessories. Inspired by occultism, fetish, and human anatomy, Teale’s designs are characterized by powerful statement pieces influenced by occult symbols — such as the pentagram and sign of the triple goddess — in addition to harnesses that mold to the body in provocative ways. As a synthesis of dark themes and alternative culture, Teale’s work is a holistic approach to fashion, one that melds personal identity with empowering aesthetics.
“Fashion is art,” Teale wrote in a statement provided to Beautiful/Decay. “I don’t have boundaries with what I create, and I set no limitations. […] Human anatomy is one of my biggest influences. The shapes, sizes, lumps, bumps, bone, flesh: everything is derived from a natural source — even our technology today was first inspired by the mystery that is nature.” And, referring to how her “Medusa” full leg harness is an evolution of the garter (a time-honored fashion item), she goes on: “I am expanding these traditions and creating something unearthly.”
At the core of most subcultural fashion is a dissenting spirit that seeks expression beyond societal norms and limitations. The same energy drives Teale’s work as she endeavors to create pieces that foster individual empowerment. Following designer Yohji Yamamoto’s perspective on the seemingly paradoxical beauty of black — a “modest and arrogant” “color” that says “‘I don’t bother you, don’t bother me’” — Teale’s versatile pieces are both assertive and romantic, and can be hidden under clothes or displayed over top (Source). Furthermore, the harnesses are gender neutral and made to adapt to all body types, placing no restrictions on who can wear them. “I want people to love themselves, feel good, wear what they want to wear, and not judge themselves,” Teale wrote, explaining how body positivity was important to her project. “It’s not about what other people think about you, it’s how you feel about yourself — and my designs are here to help liberate you.”
Teale Coco the Brand is a passionate project that is destined to go far. In just over a year, after transforming her Etsy store into its own company, Teale’s work has gained an impressive, international following. All of the styling, designing, editing, creative direction, makeup, and social media are currently done by Teale herself, with a team of artisans sewing the designs. Check out the brand’s website, Facebook page, Tumblr, and Instagram to learn more.
If you’ve ever loosed a balloon into the sky, by accident or on purpose, you have probably had that uncanny feeling that you’ve done something simple but irreversible; no matter how high you jump, the balloon will forever be out of your grasp. Now multiply that sensation by 1.5 million; twenty-eight years ago, in a misguided attempt to break the record for most launched balloons in history, the United Way of Cleveland released one and a half million balloons into the sky for a fundraiser known as Balloonfest ’86. As the weather grew grim, the hasty event administrators freed the eager helium-filled balls of color into the sky, and it was all caught on film by the photographer Thom Sheridan.
The images are pretty remarkable; when shot at close range, the balloons look to be raining from above, coloring the skyline and bridges like jimmies over an ice cream sundae. Pink, red, blue, and yellow litter the frame like large-scale confetti. But viewed from further away, the balloons form something resembling an angry plague of locusts that ominously mushroom above the city. They puff up and away, and their colors blur, forming a bloody wound across the sky.
Given the historical context, these photographs are even more theatrical, grim and tragic. Two people died as a result of the event, and a horse was badly spooked and injured. The winds that day caused the balloons to flood together, forming a substantial cloud that obscured the view of aircrafts; helicopters were unable to rescue the victims of a boating accident. In one terrible anecdote, a coast guard member explained searching for the heads of the drowning people and being totally unable to differentiate them from balloons. The entire city remained littered for weeks.
This strange, tragic story reads like a bizarre little fable where excess, pride and even the most well-intentioned aspirations breed disaster and ruin. These photographs, these astounding relics of a city’s hopes and traumas, say it all. (via Gizmodo and Viral Forest)
“Goodbye London” is the new music video from Luke Jackson, directed and animated by London-based animator Murray John. It combines stop motion photography of London with some nice hand-drawn animation added with After Effects. “I set out to capture the bitter sweetness of London life, using urban sketchy drawings on walls,” says Mr. John.
In the late 1930s, Dr. Seuss (Theodor Seuss Geisel) brought his imaginary creatures to life, sculpting them out of wood, mounting them on the wall, and imbuing them with a haunting realism by incorporating real animal parts. The remains of deceased animals came from his father’s workplace, the Forest Park Zoo.
After their construction, the creatures, bearing delightful names like the “Andulovian Grackler” and the “Two Horned Drouberhannis,” were sold as a collection under the title “Collection of Unorthodox Taxidermy.” After living in a child’s bedroom, the pieces were retired to an old barn and resold in 2004. The Chase Group later made resin copies of many of the works. Some of these pieces are available for sale on eBay.
Each sculpture stays true to Seuss’s touchingly earnest connection with the imaginative realm of childhood. The animals, though mounted on a wall, maintain a poignant emotive ability; the marriage of raised brows and mellow smiles with the antlers of genuine beasts makes the works magically vital, communicative— and somehow— real.
The profound soulfulness of the work is only enhanced by its hints of morbidity. In what is perhaps a critique of taxidermy practices, the prolific artist chose to present these fantastical creatures within the context of human domination, forcing viewers to reconcile our desire to believe in magic with the knowledge of environmental destruction. In this way, the aging of the works has not detracted from their potency but has serendipitously heightened it; years after the prolific author’s death, we are asked to search these faded faces for indicators of bestial personalities and traces of the beloved artist’s hand. Take a look. (via This is Colossal and the world’s best ever)