Los Angeles artist Dave Tada regularly posts film photography to his blog, Analog Pics. This in itself is not unusual; except, in an age of digital photography where memory cards can be easily & quickly filled, I find Dave’s commitment to posting his strictly analog work a refreshing and disciplined approach.
When Isaac Tobin is not working as a senior designer for University of Chicago Press or playing with type design, then he is whipping up some pretty phenomenal collages with minimal resources. Each piece remind us that cutting back and holding the line is just as important as drawing it. His seemingly simple use of familiar and found paper products matched with sporadic vintage text and condensed doodling presents an accessible everyday charm that inspires affordable creativity.
Ludovic Florent‘s new photoseries Poussières d’étoiles (which translating as Stardust) features the natural beauty of the human body in motion, capturing dancer’s poses in moments of ecstasy, distress and grace. Each photograph is highlighted by the staging, a chalk and sand floor which enhances each movement, with dust clouds mirroring the appendage’s motions to create a dramatic physical presence of their own. Florent says, “In our changing society, my photographic work is guided by a humanistic look, willingness to foreground the natural beauty of the body, free to express his grace and personality.”
The Metz, France-based Florent created Poussières d’étoiles for Gallery HEGOA, and in anticipation for the European Festival of Nude Photography in Arles, France in May, 2014. The photographer further explains his work, “‘Behind every carnal envelope hides a soul that is both sensitive and flamboyant as I try to capture in each of my photographs.’ We certainly enjoy his work guided by a humanistic look, finding expression in a series that is both, sensitive and vivid.” (via ignant)
For his series Animal Eyes, the Armenian photographer Suren Manvelyan captures close-ups of animal eyeballs belonging to diverse creatures, revealing both the complexity and universality of the organ. Beneath his macro lens, these small circular organs appear paradoxically vast; at times, their curved surfaces resemble the entirety of planet Earth as seen from space, cloudy with ribbons of pigmentation. Here, the eyes, considered to be windows to the soul, reflect back a cosmic realm that evokes the metaphysical, but at the same time, they are startlingly material. The pupil, a seeming abyss ascending into the unknown, is cushioned by substantial tissues that ground us firmly within the corporeal world.
Though the species shot here vary immensely, a comforting uniformity emerges from the images; through the changes in iris hue and pupil dilation, there is a shared urgency in each gaze, a sweeping desire simply to see. The horse, his eyes veiled in straw-like lashes, fixes the lens with the same intensity as the hippo, whose wrinkled, fleshy eyelids peel back. Where most photography relies upon the assumption that we may watch without fear of being observed ourselves, Manvelyan’s images inspire within us a sense of being seen; are these opened eyes, these celestial orbs, looking back at us? What do they see? Check out the artist’s photographs of the human eye here. (via Agonistica)
Curiosity led photographer James Friedman to cut into his collection of golf balls to see what the cores looked like. To his surprise, he discovered that each golf ball contained a unique interiority, revealing elegant formal qualities and inspiring Friedman to become more enthusiastic about the possibilities of abstraction in his photography, especially as a corollary to his documentary work. His series, entitled Interior Design, captures these surprisingly colorful and distinctive golf ball guts, displaying the inner beauty contained within their homogenized white forms. Friedman has been fascinated with photography since he took his first self-portrait at 5 years old. He does not play golf. (via Lost at E Minor)
Just because everyone and their mother is doing graffiti and “street art” these days -rendering the talent pool watered down and chunky like a hasty batch of kool-aid, doesn’t mean the form has reached its peak and the guys who actually know what they’re doing should hang up the gloves. James Reka, of Melbourne, Australia, knows what he’s doing. Reka just killed a solo show at Backwoods Gallery in Melbourne, and released “Pissing in the Wind”, a book of risograph prints documenting the life and times of the Aussie artist. Hope to see him in the ‘States soon.