Mark King creates photographs that document every day life in his hometown of Barbados. What I am particularly drawn to within the works is their overarching sense of point-and-shoot honesty, as well as their glossy/gritty vibe that could almost be high fashion editorial Vice essay- its sort of like a candid, William Eggleston approach meets Terry Richardson. Mark’s work seems to capture the culture around him and highlight them in new, surreal and fascinating ways. Discoered on the Beautiful/Decay Creative Pic Pool– be sure to upload your work there today and it may just end up on the B/D blog!
Stefanos created a Euro Banknote Bombing project by incorporating minimal ink bled illustrations of a callous nature and torpid situations. The human figures he incorporates into the Euros embody the social and economic instability in Greece has been facing for the past few years. On a 100 euro, the Grimm Reaper “reaps” in the shadows. A “bomb” effect to showcase social decay and violence. This is just one of the many heartless illustrations that grace the paper.
Stefanos hijacks the European document, exemplifies artwork through a lack of reality, then returns it by spending it-sending it flight for circulation. By defacing the euro, he expresses his dissatisfaction for the economy to share in the hands of others. The graffiti euros have successfully branched all over, showcasing his depiction of this noise that Greece faces.
Polish fashion photographer, Sylwia Makris, creates photographs that juxtapose an academic portrait aesthetic with a steampunk sensibility. Sylwia’s work resembles dark and dreamlike worlds where bodily expressions, makeup, clothes and the environment itself come together to tell a unique story full of charm and mystery.
Makris’ recent body of work, a series of portraits that resemble the dark and the beautiful, serve as an artful glimpse on our current fashion aesthetic condition- in Makris’ terms, of course. It primarily features pale-white women and men encapsulated in a black background in steampunk formalwear; many are tattooed or pierced, if not wearing dark makeup. The models wear extravagant headpieces that pile up on top of their head like the headdress of wild mythical creatures. She photographs people that are strong or delicate, broken or dynamic. She photographs the faces of our time-and in doing so, she gives a face to our time in her own terms.
The dramatic lighting and over-the-top costumes are not what we deem real, however. Perhaps, what is real, in this case, is Makris’ faith in the strength of an expressive and strong appearance and personality; a belief that through her gothic, steampunk characters, she illustrates very clearly. The intensity and confidence that exudes from her subjects is not to be missed and certainly not to be disbelieved.
Art turned fatal for John Jairo Villamil, a thought provoking 25-year-old Colombian university student, who asphyxiated himself amidst a performance. For his act, Villamil covered his head with a garbage bag and placed his feet inside a bucket of water. His actions served as a personal critique of his hometown of Bogotá, Colombia which has been considered one of the most violent cities in the world. Since he had previously executed this piece without incident, many thought the heavy breathing and convulsion were part of the act. Villamil died at an ICU five days after being pronounced brain dead immediately following the incident. His mother, who at one point is said to have provided tips on how to make the performance more shocking, is now blaming the university for neglect.– Huffington Post
Short video from Columbian TV about the incident after the jump.
Tucked away in the middle of California’s Mojave Desert is a tiny pool whose location is unknown to the public, identifiable only by guarded GPS coordinates. It was imagined by Austrian artist Alfredo Barsuglia, and is technically open to the public. If you want to swim in it, all you need to do is ask the MAK Center for Art and Architecture in West Hollywood about the longitude and latitude points and obtain the special key to open the pool’s cover.
The four-foot by 12-foot body of water is available for 24 hours to any one person or small party, and you must bring a gallon of water per person to replenish the pool. Its minimalist stylings are painted white and stands out against the sandy and arid terrain. Alone in the desert, it’s an oasis for a weary traveler or nomad. Barsuglia calls it Social Pool, and meant for the swimmer to consider the societal ramifications of this outdoor installation. A description of the project reads:
The work embodies the massive socio-economic changes that have taken place in the last forty years. It thus understands itself as the product of an economy in which privacy and immateriality have been fully commodified… For many a consumer, art is expected to operate according to the principles of the service economy rather than following humanist ideals of intellectual or moral stimulus and education.
Whether or not this pool encourages this deep thought or is simply a well-thought gimmick remains to be seen. (Via Huffington Post)
Rem Van Den Bosch’s photographs are sex, beautiful, sleek, and just the right amount of disturbing.
Australian artist Ian Strange‘s ambitious project two year in the making is difficult to pin down. SUBURBAN isn’t quite installation, photography, performance, or video art – its really more than all of these. The project is really Ian Strange’s investigation of and interaction with the idea of suburbia. The sidewalk, front yard, middle class, ubiquitous rows of homes have grown with a generation of young people, and now with a second and third. The neighborhoods and houses themselves have become symbols of something beyond their function that Strange’s work seems to seek and find. Check out the video to get a preview of the upcoming exhibit.
Photographer Claire Rosen uses self portraiture as a way to transport the viewers into a world of fairytales. Through her aptly named series Fairy Tales and other Stories, she creates fantastical worlds where the isolated subjects surround themselves with scenes of nature, piles of books, and more. Often, their faces are obscured in the darker, more introspective version of these classic stories.
Rosen’s work mirrors her unconscious, and she explains in her artist statement:
Inside my dreams, I am someone else. I create characters, like alter egos, presented as recognizable archetypes. The figure inside the image often looks away from the viewer, the face hidden by the turn of the body or by a mask. I hope that the viewer will imagine themselves inside fairytale, and interpret the narrative of the image as one might interpret a fairytale, searching for hidden meeting inside the story.
This series speaks to living in the 21st Century, a time when we are constantly bombarded with noise, information and moving images. Still imagery, by contrast, allows us to shut out the noise and hear ourselves. I use photography to both escape and convey the overwhelming nature of our modern reality.
The pastoral setting of this work recalls a simpler time, while reminding us of humanity’s attempt to conquer the enormity of nature. I draw on themes in classic fairytales – beauty, chastity, and passivity – not as a comment on post-feminism, but as an expression of a more universal experience. My aim with the use of folklore is to suggest the continuity of the human condition: outside, the physical world changes with dizzying speed; inside, our cerebral world remains timeless.