Melbourne based designer, photographer, illustrator, animator, and collagist Hilary Faye creates animated gif collages with images culled from the internet. Faye stumbled across gif-making accidentally, while creating her static collages: “When collaging, I often alter the composition slightly, scan, and repeat the process until I’m satisfied. Flicking through the scans on the computer to determine my favourite version, I saw them move and come to life.” Faye’s gifs often include juxtapositions of contrasting time periods, creating odd and surreal narratives. You can find more of Faye’s gifs on her Tumblr page, and some of her animations can be found on Vimeo.
Mark Andrew Boyer, a Graduate student at UC Berkeley’s Journalism school, met Bob Anderson (the man featured on Boyer’s photographs), a former professional boxer, while on a walk through The Albany Bulb, a landfill situated on a fist-shaped peninsula that juts into the San Francisco Bay.
The Albany Bulb, serves the community’s poorest, as many homeless men and women call it, home.
“I was walking on the shore and heard some hammering in the distance. I followed the sound, and there was this guy building this huge structure.” -Boyer
That guy, as Boyer recalls him, is Bob Anderson, a man who has lived in the landfield since 2011 when he was forced to move out of his Berkley home after his mother’s death-since then he has become homeless. Before that, Anderson had been a professional boxer living and fighting in Las Vegas.
Bob is certainly not your average homeless man.
Anderson’s current place stands strong and tall amongst the highest of trash mounds found at The Albany Bulb. Its astonishing look- one that contains unintended artistic merit- captured the eye of Boyer whom was later compelled to photograph the life of Anderson is his landfill mansion.
The journalist spent a week with Anderson photographing him and his three-story domain, which upon closer inspection was even more amazing than it looked from the outside.
“There could be a shipping pallet next to a mirror next to a piece of plywood next to a mandolin that he’s shoved in between the cracks. It’s a really interesting mix of objects, it’s ever changing. Every time I went back it looked completely different. I went out for a walk once and he had stuck a wind surfing sail on the top of it.”
Once again, the prestigious palace of Versailles has been invaded. After Jeff Koons, Takashi Murakami and Joana Vasconcelos it’s Anish Kapoor’s turn to impress the crowd. And he did.
The artist designed six spectacular installations all meant to impact the history and architecture left by Le Notre, the official Sun King’s gardener.
Anish Kapoor wants to create an opposition: the perfect and rigid site of Versailles versus the idea of chaos and death.
The first two pieces are reflecting the sky and deforming the crowd onto gigantic mirrors. What follows is a little more outstanding: an orifice, like a giant vagina comes out from the ground and faces the palace. A metaphor highly suggesting the cause of the downfall of Marie Antoinette, the King’s guillotined wife. As the viewers randomly walk down onto the next pieces they cannot ignore the phallus shaped organ and the red stones exploding from the grass. Red is Anish Kapoor’s color of choice, it’s the color of the flesh and he is using it repeatedly; he says by using this color he makes the body celestial.
The next two pieces are a dramatic liquid vortex and an informal gelatinous bood-red colored shape. Both installations play with the viewers and their nerves. The whirlpool is intimidating as the sound of the blackened swirl is frightening, the ground shakes under the feet and the strange red organ absorbs the viewer’s bodies as they can penetrate inside.
The provocation goes on with the last piece built inside the Jeu de Paume (at a 5 min walk from the castle). Clearly Anish Kapoor criticizes the French revolution, and condemns the violence of the state against its own citizens. A cannon projects against a white wall red wax and the sexual interpretation which the artist approaches is inevitable: “I am conscious of the controversy this piece could imply. The phallic shape of the cannon and the sexual tension coming from it. Remember that this room was filled with males representing a male dominant State”.
Coke Wisdom O’Neil’s conceptually driven portrait series The Box feels theatrically avant-garde, akin to Sartre’s No Exit, with strong emphasis on “the look”– or, the dilemma of seeing ourselves as objects in other people’s consciousness.
Each photograph was originally shot in a twenty-two foot tall wooden box, constructed by the artist himself and set up in a variety of different public spaces from New York City to Texas. Such an unnaturally large empty platform allowed curious subjects the freedom to perform when shooting; however, ironically, it also has a tendency to trap when printed– evoking a doll-like sense of display, especially when collected back-to-back on a gallery wall, suggesting “the look” is relative to not only our minds, but also most apparent in photography or art itself.
Emily Malan‘s intimate style of photography gives her shots the illusion of being candid. You get the sense that you’ve come to know her subjects without ever meeting them. Her focus is on portraits, but she has her eye on the fashion industry; perhaps one day we’ll see her effortless photographs in fashion spreads in Vogue.
Christopher Charles Curtis A.K.A. C3’s drawings explores a world the artist has created to better understand the darker parts of himself and humanity as a whole. This world is best described as a fairytale western with some horror film aspects. The characters are in a constant struggle to find their place in a world that is slowly crumbling all around them. As they foolishly try to save this world they find that not only are their attempts futile but their very efforts are contributing to the decline in civilization. It is a basic story of the few vs the many, honor and glory vs power and corruption.
Barcelona-based artist Elisa Ancori‘s illustrations are somewhat arcane in nature, like drawings of dryads or nymphs. A common characteristic in Ancori’s artwork seems to be that of metamorphosis, blending animal and human forms. One of her collections is a play on the word: “Metamorfish,” with an aquatic theme throughout.
The allure of her work is in the matter-of-fact anatomical nature of each piece. Even though the subject is fantastical, she isn’t heavyhanded or tongue-in-cheek with her flavor of surrealism. There’s a subtlety to her illustrations. She treats both the grotesque and the sensual with a light hand; the crook of an inviting finger is shaded just as delicately as the soft petal pink of a mermaid’s innards. (via I Need a Guide)