Photographer Eolo Perfido’s series Clownville is a place where nightmares are real. In this series, Perfido photographs a hodgepodge group of bloody, cackling, and all together demented-looking clowns. What makes this set of clowns so horrifying is the incredible attention to detail the photographer has taken into account when developing such a dark, desolate atmosphere. We are able to see each crusty hair on the clown’s body, every white, chalky flake of skin. They have become just as grotesque as they are unwanted. The clown, who can be thought about in a cheery, amusing way, is often a subject that many people fear. Among all of the classic, cult horror films lies the infamous and terrifying clown. It has been appropriated to suit every child’s nightmare. Still, there is something incredibly sad about the clown, even in some of the characters in Clownville. Although frightening, many of Perfido’s clown seem worn out and used, as if they are just misunderstood and unfortunate. This sense of hopelessness can be seen in the photograph exhibiting a fairly large-sized clown smoking on a couch. Another representation of this is found in the face of the big, teary-eyed clown staring straight into the viewer, with no smile. The entertainers are perhaps tired of entertaining us.
Eolo Perfido’s heavily stylized approach to photography is very apparent in his series Clownville. Many of his photos have a very staged look, almost like a play, while at the same time feeling genuine. Others have an old, classic flavor due to their grainy quality and black and white tones. There is something different that can be found in each clown as their creative make up and poses reveal bits of their character. As unnerving as this series may be, we cannot look away from these unforgettable, chilling faces.
Dually based in both Los Angeles and New York, photographer Dan Eckstein is no stranger to the inescapable traffic of a bustling metropolis. While travelling across Rajasthan’s highways and byways during a trip in 2011, however, he noticed a striking addition to the thoroughfare: highly adorned, technicolor trucks. Inspired by these shimmering “goods carriers,” Eckstein opted to create his series and book, Horn Please: The Decorated Trucks of India.
In addition to vivid paint and ornately-inscribed text—including the phrase “Horn Please,” found ubiquitously on India’s trucks and designated “the mantra of the Indian highway” by Eckstein—the trucks’ exteriors are encrusted with gleaming lights, images of deities, intricate patterns, and even portraits of pop culture staples. While the trucks boast impressive façades, their interiors are just as embellished; given the exhaustive hours and long journeys innate to this line of work, the drivers seek to be comfortable and, thus, decorate their cabins according to their unique tastes.
While highly individual, the trucks also speak to a specific culture and its highly distinctive aesthetic:
What Eckstein produced is a singular portrait of the subcontinent–distinctly Indian, and a vividly colored reflection of this country in flux between tradition and modernity. Horn Please serves as a psychedelic guide to design in India, from the hand-painted lettering covering the trucks, to the mindboggling use of color, to the specifically Indian patterns and motifs, and a showcase of the visual vernacular of the subcontinent.
Beautiful and jubilant, the decorated trucks of India are truly a feast for the eyes. (Via Slate)
Be sure to pick up your own colorful copy of Horn Please from Powerhouse or Amazon!
It’s hard to categorize the work of Judith Geichman. Are we looking at thick paintings or sculptures that are in a dialogue with the history of painting? I’m not sure which side I’d pick and frankly I don’t think it matters much. I’m more interested in how Judith has managed to bring a sense of comedy and humor to a body of work that could be read as minimal. There’s not much minimalism out there that makes me chuckle but these goopy and drippy works manage to do the trick.
I first met Sherin Guirguis at USC while giving a talk about B/D. Sherin teaches in the design department so I assumed that she was primarily a graphic designer. Over the years we’ve run into each other here and there but never really visited each others studio. A few months back Sherin stopped by my studio to check out some work. When I went to return the favor I didn’t find stacks of design work but a studio full of both paintings and sculpture that were at once precise and technical while organic and fluid. Here are some shots from the studio visit.
Dark and stoic work from Dutch artist Desiree Dolron. These images remind me of portraits by the Old Masters, especially Vermeer and Rembrandt – the extreme stillness in each frame helps you focus on all the small details that make the image really pop when you look close. Find more at Galerie Gabriel Rolt.
Keri Oldham‘s collections of watercolors are studies in familiarity and restraint. Each mark is deliberate, yet still manages to accidentally wander, bleeding and pooling into the next, happening upon a recognizable form.