Body painting is a tedious, but amazing process with stunning results. Incorporating the technique in unique ways, each of these three artists captures beautiful and poetic images after applying paint to skin.
California-based photographer Jean-Paul Bourdier combines the human form with landscape to create a unique visual synchronization. Painting the bodies, posing them just so, and taking the photographs, Bourdier explains that, “arising in each visual event conceived are the geometries generated by the body as a determinant of ‘negative space’—not the background of the figure and the field surrounding it, but the space that makes composition and framing possible in photography.”
Incorporating what is largely traditional painting, Alexa Meade also uses the unique canvas that is the human body. Painting directly onto the skin, Meade creates a trompe l’leil that is wholly unusual. Camouflaging her figures into the background Meade creates optically engaging images that confuse 3D and 2D planes.
Australia-based artist Emma Hack combines painting on canvas, body painting and studio-based photography. Hack’s works incorporates rich visual narrative with magical realism. Also interested in the idea of camouflage, Hack spends approximately 19 hours painting her wallpaper and then anywhere from 8-15 hours painting her subject to throughly explore the subject. The arduous process is time-consuming, but the results are spectacular.
Maybe a little exploitative but well done nevertheless, these shots from photographer Allan Teger are done in single exposures. Natural, bodily curves take the place of hilly landscapes as miniature “people” go about their business perfectly naturally. A nice way to celebrate the human form through re-contextualization, or just pretty shots of naked people- what do you think? Whenever I see these little plastic guys being used in such a way, I always think of Slinkachu’s “Little People Project”. I guess this is a common thing now. But Teger’s been doing it for a while. (via)
There is never a dull moment in Jeremy Bailey’s performances – I’d like go ahead the deliveries of his stand-up/software demos/karaoke sessions as the funnier “artistic” Steve Jobs. In “The Future of Theatre” debuting tonight, he plays “this hopeless and foolish slave trying desperately to conjure his machine to do increasingly absurd tasks of questionable use. Computers are the new chauvinist modernists.”
New York sculptor Thomas Doyle works in miniature, creating detailed scenes capturing specific moments in his tiny people’s lives. Some of these moments are rather mundane, while others are epically dramatic. What all these sculptures share however, is best put in Doyle’s words:
The pieces’ radically reduced scales evoke feelings of omnipotence—as well as the visceral sensation of unbidden memory recall. Hovering above the glass, the viewer approaches these worlds as an all-seeing eye, looking down upon landscapes that dwarf and threaten the figures within.
Conversely, the private intensity of moments rendered in such a small scale draws the viewer in, allowing for the intimacy one might feel peering into a museum display case or dollhouse. Though surrounded by chaos, hazard, and longing, the figures’ faces betray little emotion, inviting viewers to lose themselves in these crucibles—and in the jumble of feelings and memories they elicit.
This showreel is made of a selection of projects done by freelance designer Giovanni Bucci over the last few years. The audio track is a blended/synthesis of flavours from the latest productions of Marco Morano, which include dirty electro, over compressed grooves, classical atmospheres and re-built sound effects.
After experimenting and researching how audio can influence and inspire video and viceversa, they have worked out a personal formula. Instead of working audio and video separately, as it is common practice in the media industry, every draft of the video editing was followed by an audio adjustment in a way that both authors could get influenced by the work of the other, until they felt that an harmonious final edit was achieved.
These headless figures resemble ancient Venus statuettes. However, the sculptures’ construction betray their modern origin. Artist Etienne Gros pulls, tucks, and pins foam to resemble the classic nude. The full curves and folds of the foam mimic human flesh in strangely similar manner. Gros contrasts the age-old form with modern industrial material to highlight concerns that have never disappeared – the body, sensuality and sex. Gros is familiar with the human figure beyond this unique medium. He’s explored themes of the classical figure in paint and even smoke.
Andy Ristaino is the lead designer at Adventure Time. His online portfolio is insanity. Yeah, Ristaino’s got the whole psychedelic thing pretty much down. But he’s also doing a lot more. This is what it looks like when you reach a high level within your craft. His blog is worth a click as well. (via)