This is just a fraction of the digital Valhalla Bo Lee created with his fresh new html/art piece “The Elephant“. I cant promise that this page will provide you with all the answers, but it begins with a poem that put my entire, boring life into depressing context. On a lighter note, this page also allows comparison between all the web-pages of major organized religions. I hate to say it, but, Scientology raised that bar way up.
New York-based photographer Josephine Cardin’s poignant images examine the beauty of the human body as well as the complexity of the mind and emotions. Cardin’s series, featuring self-portraits, is titled Between Lock and Key . It explores “the dichotomy of how we have both the ability to mentally imprison ourselves, while simultaneously holding the key to unlocking our freedom,” she writes. Muted, vintage-esque compositions showcase her donning a long, black dress in elegant poses (she’s a trained ballet dancer). Cardin is surrounded by expressive, distressed marks and multiple hands that read as both soothing and troubling.
The marks that surround Cardin’s body are visual representations of the mental blocks that we all face from time to time. Thoughts clouded with anxiety prevent us from moving forward with life and seeing things clearly. Cardin draws scribbled clouds around her head and crosses out her eyes using short, energetic strokes.
While there’s a lot of visual strife in Cardin’s series, there’s hope, too. The same lines that hold her down lift her up. It’s as if she’s overcoming adversity and doubt to rise to her true potential. (Via Asylum Art)
Clean, beautiful, and informative packaging design by Audree rethinks those nutritional figures we always take for granted. If everything we ate had this sort of packaging, would we still be eating it? Is ignorance bliss??
At the end of life: a camera lens, desperately recording and archiving the fears of the dying. For the series Life Before Death, the photographer Walter Schels captures the terminally ill in anticipation of the unknown and again in the moment after death. These intimate portraits are the last of a lifetime, documenting the body after some ineffable human essence has vanished. Informed by the words gathered in interview with the subjects by Schels’s partner Beate Lakotta, the haunting shots imagine the invisible, giving form to the most unconquerable human fear.
Schels’s portraits, in their silvery black and white tones, are reminiscent of Victorian post-mortem photography, presenting the dead as if sleeping, their eyes closed and brows gone slack in seeming comfort. These images are poignantly juxtaposed with the interviews, conversations in which even the most mundane, peripheral things of daily life are assigned significance; beside wizened and terrified eyes and coupled with existential wonderings are thoughts on fridge-freezers and local football teams. The banal works against and in service of the tragic; when confronted with death, a burial site and a cup of coffee are equally potent reminders of our mortality.
At the turn of the 20th century, it was believed that the eye recorded the last sight seen by the dead, that with careful study of the ocular nerves, we might reconstruct the moment of death. Schels’s subjects, pictured with gleaming eyes and contained within unrelentingly tight frames, seem to stare into the viewer as they confront inevitable passing, as if to implicate us or to say, “You are the last thing I saw.” (via The Guardian)
Artist Benjamin Edmiston lives & works in Brooklyn, NY and he’s just opened an exhibit on July 2nd at the Infantree Gallery in Lancaster, PA. He produces paintings, drawings, and prints that, according to the artist, “recalls for me the tension of an early, crude Mickey Mouse cartoon, or a misplaced folk sculpture standing eerily on a dusty shelf,” and I’d have to agree.
The upcoming exhibition Thingamajigs, curated by Meenakshi Thirukode brings together individuals whose creative practice cannot be categorized under traditional tags. The show features a plethora of artists who push the boundaries of their practice, including prior B/D featured experimental group Lucky Dragons, B/D staff writer Colleen Asper, and B/D’s own Amir H. Fallah! A bevvy of Beautiful/Decay articles of history and memorabilia (including some of the first ever, hand-photocopied ‘zine versions) will be on display, alongside Amir’s painting. If you find yourself on a spiritual or artistic journey to India, be sure to check out this exhibition at Gallery Open Eye Dreams.