French photographer Pascal Pierrou takes interest in creating the ultimate ‘modern girl’ photo catalogue. Pierrou, a fashion photographer, is interested in showcasing alternative ‘feminine beauty’, the type that we are not really used to seeing in popular television or mass-produced advertisements. He primarily focuses on girls with short hair/no hair, tattoos, and piercings. While these women’s looks are not uncommon per se, Pierrou is looking to create a fashion-like photoshoot that shows off these women in a way that is uncommon and unexpected. For instance, his way of pairing a naked woman with a sword tells us that he is looking to show off a double-sided profile, one that shows off a rough edge, and another that features the soft lines of a slender and feminine naked body.
This idea of rough and soft lines is somewhat of a pattern amongst the photos on this series. These characteristics are indicative of what Pierrou thinks about today’s modern girl- often times, a woman that carries a powerful and tough, but ultimately soft appearance and character.
His inspiration for the series was Andy Warhols ‘Factory’ which was popular in the 60s in New York. Pierrou imagined people of a new factory, free women, feminists, artists that would exhibit their skin, hair, tattoos and words without being ashamed.
Mexican photographer Alinka Echeverria’sThe Road to Tepeyac , for which she won the prestigious French prize HSBC Prix pour la Photographie is a typology of the backs of three hundred Mexican pilgrims on their journey to the Basilica de Guadalupe in Mexico city. This yearly pilgrimage is undertaken by approximately six million devout Catholics on the anniversary of the apparitions of the Virgin of Guadalupe in 1531 to the indigenous man Juan Diego. This journey is a manifestation of the iconic power of the Virgin, whose image was miraculously imposed onto Juan Diego’s cloak. Belief in the apparitions and their evidence, the ‘sacred image of a miracle and a miracle of images’, marks a turning point in the struggle for power of the Spanish conquerors, for whom evangelizing was imperative to the success of the empire. They successfully conquered the imagination using imagery as a tool for acculturation and domination in an already extremely visual indigenous culture.
The pilgrims photographed, carry their own reproduction of the Virgin – paintings, sculptures, posters or cloaks of the icon, taken from home and shouldered on their backs to the place of the apparition. The journey is an arduous one, a physical and spiritual undertaking with each pilgrim bearing their own evidence of devotion whilst enforcing their own personal relationship with the Virgin. Echeverria takes each portrait separately, which is then cut and transposed onto a plain background. This de-contextualisation is intended to raise the subject above the corporal world, making them appear like an isolated icon.
Seen as a series, each portrait creates a dialogue with the others. A narrative of interconnecting personal missions removed from the rest of the elements originally in the image. The sheer number of portraits helps to create a visual maze of similarities and differences. With the surrounding landscape removed we are struck by the contrasting richly colored Virgins and muted tones of the pilgrims.
Philip Kwame Apagya is a Ghanaian artist whose color photographs reflect a contemporary twist on traditional West African portraiture. In Apagya’s photos, subjects interact with his brightly painted 2-D backdrops, interiors and exteriors that catalogue the trappings and accoutrement of an affluent international culture. Subjects inhabit faux living rooms showing library shelves or consoles stuffed with expensive electronics, or chat on cell phones standing before home computers, or prepare to board that international flight to happiness. While Apagya’s photographs reflect a young and prosperous generation of consumers, one can imagine that for some, the photographs also present a “reality” beyond their means.
I feel like if Harm van den Dorpel’s gave a seminar about his work that he would be completely deadpanned and really matter-of-fact about it. Even though some of them look like 20-minute photoshop exercises, I can’t help but be mystified.
There’s not much information about Alicia Watkins‘ scientific embroidery, but we can all agree the project is a fun way to identify potentially harmful microbes. From anthrax to salmonella, herpes, e.coli, toxoplasma, mono, botulism, and the common cold, Watkins has colorfully cross-stiched many well-known bacteria, protozoa, and viruses. Some of these dreadful microbes almost appear cute by Watkins’ careful hand, associating the warmth and comfort that cross-stitching evokes with the coldness of threatening diseases and sicknesses. Watkins’ Etsy store, appropriately named Watty’s Wall Stuff, has these stiched microbes available for purchase at $19.99 each, along with other clever and pop culture influenced cross-stitch work. She also takes custom orders, as well as making some of her patterns available for purchase. (via this isn’t happiness)
If you’re looking for a good reason to not take drugs then watch the video after the jump. I’m not really sure what we’re looking at but It’s either belongs in a museum or in a mental hospital. You be the judge.
Tania Shcheglova and Roman Noven are a Ukrainian photography duo also known as Synchrodogs whose surreal imagery frames the human body in odd-yet-intimate relations with the surrounding landscapes. This particular series, Reverie Sleep, takes this theme of the “strange natural” a bit further, drawing on the expansive and unearthly realms of lucid dreams. Made with the support of the Pinchuk Art Foundation in 2013, this project emerged from visions the artists experienced while wandering somewhere between sleep and awakening:
“[Reverie Sleep] deals with the stage of Non Rapid Eye Movement sleep, during which some people may experience hypnagogic hallucinations caused by [the] natural process of falling asleep. Experimenting with those lucid dreaming techniques, [Synchrodogs] woke themselves up in the middle of the night to make a note of what they had just seen, gathering their dreams to be staged afterwards.” (Source)
In order to recreate their dream imagery, Synchrodogs traveled to Iceland where they immersed themselves in dangerous and bleakly beautiful environments. As they explained in an interview with NYMag, they shot near “glaciers where you can fall into an ice hole and be found in a week, or in hot lakes where you can get boiled alive if there is a geyser which decides to eject hot water while you are in [it]” (Source). This earthly threat lends the images an impassive quality, just like the intangible lands we explore in our sleep while uncertain of what threats or joys await us.
Inhabiting Synchrodogs’ eerily sublime landscapes are female figures, nude or bedecked in colorful paints and surreal costumes. Bodies morph into ferns and fruit, or lie on cold earth and exalt in the light of an alien sun. Each figure is simultaneously human and inhuman, existing in a hallucinogenic, unquestioning state that dissolves and realigns our notions of reality. Shifting between forms and consciousness, they represent creatures of a limitless and symbolic universe.