Steve Poxson takes hyper-realistic photography to a whole new level by using a scanner to create his work. Kinda takes all those “hey, look at my hand!” scans to a whole new level.
English photographer Jonny Sutton creates subtle but powerfully symbolic photography that alludes to various themes including the quotidian, sexual experiences, and memory.
Athough Sutton is interested in depicting scenes that are familiar to past personal recollections, the haziness and [sometimes] cinematic feel of his compositions make the viewer feel disjointed and distant to what they may otherwise feel very familiar with. Sutton’s recent series, Remains and Pornography, explore the memory of sexual experience through objects and familiar scenes that may trigger flashbacks to ones own past regarding sexual involvements.
Remains focuses on sex and the relationship it has with our surroundings. His photographs record the aftermath of a night of passion. By photographing what is left behind, the artist creates an interesting narrative that again brings the viewers to remember with hazy and distant thoughts.
His other series, Pornography, explores the themes of sexual documentation, pornographic films and violence, and the sexualization of children. In this case, Sutton uses a Barbie Doll and manipulates it in a way that presents the viewer with subtle, but obvious sexual positions. The artist’s prop here works as both the subject of his composition but also as a very important part of his concept and main messege. The dolls’ body, identifiable with the female form and a child’s innocence, is easily taken and manipulated to reenact sexual positions. This might be a reference to rape or a man’s power over a woman/child, however, its meaning is unclear and not explained by the artist himself. Nonetheless, it is certainly a logical conclusion to come to. Moreover, Sutton’s way of blurring the images leaves the spectator to witness a sequence of events that are blocked off and partially remembered [on behalf of whom is theoretically experiencing that manipulation,etc]. On the other hand, from an outsiders’ perspective, we acknowledge that the intrusiveness of the camera, or our gaze, in this case, is what makes the work the ultimate source of manipulation.
Lorna Barnshaw likes to experiment with digital renderings of human faces. In her series of 3D art prints Replicants, Barnshaw used a different computer, software, application, and printing method with minimal interference with each computer’s rendering. The results are geometric, cubed, and warped mask-like representations of the human face. Complementary to this work, Barnshaw’s gif series Reality Reduction, depicts human figure images reduced to their basic geometry using a digital filter. Together these series engage us with their reflections on technological influences in contemporary culture.
Joe Kelly is bringing some Rock n’ Roll with a Comic Book soul. His work has a punk rock attitude served up in a crispy cutty illustration style.
Mickey Artworld is a self-taught French artist who works in SFX makeup, prop design, paint, and sculpture to create highly imaginative characters in the styles of steampunk, science fiction, fantasy, and horror. His project Fragile, featured here, hails from this latter category; emerging out of a twisted mass of what appears to be rock or clay is a hideous creature, what Mickey identifies as a “tortured soul.” Featureless except for a raw, lipless mouth and snarling teeth, the alien-being writhes blindly about, howling in pain (or in some other indescribable, unidentifiable emotion). As it crawls and twists over the rocky mound, its skin appears to crack and crumble off like sand, giving it a corpselike appearance and adding to its expression of living hell. To create this frighteningly realistic piece, Mickey made the mask out of latex and the body a combination of water-based clay and makeup.
Mickey explains that the source of inspiration for Fragile was Silent Hill, the Japanese survival horror video game series known for its creepy, slow-burning aesthetics that disturb the psyche; instead of gore for shock value, imagine eerie, unfamiliar sounds in a dark room and grotesque monsters with strange, mutilated bodies — the types of illogical and horrifying things you would see in a nightmare. Fragile has the same emotional and psychological effects, producing fear through confusion and doubt. In confronting spectators with Fragile‘s macabre scene, Mickey hopes to transport them into “another world, a world of beauty and darkness,” where monsters like this one access the deepest recesses of our subconscious, eliciting complex feelings of both fascination and fear.
Check out Mickey’s website and Facebook page for a stunning collection of his beautiful and stylistically varied work. The photography for Fragile was done by the talented Warped Galerie, whose work will appeal strongly to anyone interested in horror, fantasy, and dark beauty. The model is San Keaton.
In an attempt to finally stop the social stigma surrounding HIV, the German magazine Vangardist has printed over 3000 copies of their latest issue in a special ink infused with HIV+ blood. The blood was taken from 3 different volunteers who are living with the virus, and combined with printing ink at a ratio of 28 parts ink, to 1 part blood. Scientists at Harvard and Innsbruck Universities have come up with a unique way of mixing the two substances, and are certain the hard copies of the magazine carry no risk of infection. Even with all the assurances of the paper being perfectly safe to handle, the concern surrounding HIV is still worrying some critics. It would seem the attitude to the HIV virus is not so different to those of 30 years ago.
Julian Wiehl – the Publisher and CEO of Vangardist recognizes this and thought they could help inform people on the touchy subject. He says:
The editorial team at Vangardist is committed to dealing with a wide variety of topics affecting our readers. We believe that as a lifestyle magazine it is our responsibility to address the issues shaping society today. With 80% more confirmed cases of HIV being recorded in 2013 than 10 years previously, and an estimated 50% of HIV cases being detected late due to lack of testing caused by social stigma associated with the virus. This felt like a very relevant issue for us to focus on not just editorially but also from a broader communications stand point. (Source)
The launch of the Spring issue was designed to coincide with the Life Ball – one of the most important HIV events in the world, held in Vienna. The magazine has been available to subscribers since April 28th, and there is an online campaign that aims to breakdown the taboo. Be sure to read more about it here. (Via Fastcodesign)
I’ve seen a lot of great paintings by Pearl in the past and was excited to feature her work in Issue: V of Beautiful/Decay. However I hadn’t seen much of her work until I stumbled onto her website today. The videos are hilarious and tie into her paintings nicely. This new discovery does make me wonder whether the video work came first or the paintings?
As part of our ongoing partnership with In The Make, Beautiful/Decay is sharing a studio visit with artist Alexandra Grant. See the full studio visit and interview with Alexandra and other West Coast artists at www.inthemake.com.
Alexandra’s studio is in the historic West Adams district of Los Angeles, just a short distance from Koreatown and Downtown. From the outside her building looks like a non-descript, kind of funky commercial space that in no way expresses how big her studio actually is. The place is huge with a cavernous feel to it— cold, shadowy, and resounding with echoes, it heightened every one of my senses. Everything I took in seemed exaggerated: the damp air, the bright fluorescent lights, the vibrant colors of Alexandra’s paintings, and the steady rhythm of her voice. Long after our visit those impressions continued to linger, as did much of my conversation with Alexandra. She is a force to be reckoned with— her brain is agog with ideas that she expresses in a continuous flow of conversation, often jumping from one thought to the next as they wildly run through her mind. Her energy is infectious and inspiring, and makes you feel like the world is in fact full of promise, insight and adventure. Many of Alexandra’s paintings are collaborations with writers and their ideas, which makes sense because she appreciates the complex nature of dialogue: the exchange of both concepts and language, the act of deciphering and interpreting, the twists of subtext, and the inevitable losses in translation and how we make up for them. By borrowing writers’ poetic language she utilizes the format of dialogue to create “conversation” between image and text. In engaging text and image this way, the work then becomes a liminal space that challenges the viewer’s ability to perceive and hold both elements at once.