Manjari Sharma’s newest project, called “Shower Series,” takes her subjects into an area that is usually private and very intimate; the shower. In this new series, the subject is invited to her apartment where she photographs them in her bathroom. The experience, Sharma says, was one in which, “.. every new person in the shower became a brand new allegory. With every new visit I had a new protagonist; A new plot and a new parable of hurt and heroic that came undone under that shower – My Shower.”
Manjari Sharma was born and raised in Mumbai, India. She has worked as a photojournalist with many respected magazines in India as well as been featured on the cover of many publications. Her work can be seen on her website.
Meet Canadian artist Alice Gibney. Her work has a hauntingly beautiful presence, layering intimate charcoal lines on large scale paper panels. Her recent series are filled with imagery depicting self vs nature and human manifestation of grief. She’s currently spending some time in Berlin, hopefully gathering up loads of inspiration for her next series of work when she returns to NYC to finish her MFA at Parsons.
If you’re like us at B/D then you are just as anxious as we are about the surprise installation taking place on the 2nd floor of the Uniqlo NYC flagship store. The viral video released in February by Uniqlo only gave us vague clues but now more information has leaked in anticipation of the March 28th grand opening. To add to the mystery Uniqlo has just released the above video which gives us a bit more of an indication of what they’re up to. Whatever they’re doing it’s clear that it’s going to be an exciting collision of art and fashion (and Starbucks!)!
To add to the excitement Uniqlo is kicking off their Lucky Line where shoppers can create pixelated avatars, hang out in futuristic virtual worlds, and even stand in line at Uniqlo to win all sorts of giveaways and prizes. It’s anything but ordinary and a fresh take on shopping.
Art can be made with anything. You can use a stick, the back of a napkin or a Roomba vacuum can be used to create new imagery. This series of photos were made by artists from all over the world who attached various lights on top of the saucer shaped vacuums, set up a camera at a long exposure and let the good times roll. The result is a series of light drawings that are straight out of your favorite laser tag session or Tron. There’s even a Flickr image pool where you can upload your own Roomba art and join the new vacuum art movement!
James Viscardi’s current painting series at The Sunday Painter gallery has art engage with fashion in a way rarely seen. Art and fashion overlap on so many levels, whether it is a designer creating preliminary drawings for a dress or an artist incorporating the style of an era into their portraiture to record that point in time. Fashion is a form of visual expression as painting, drawing, sculpture, etc. Even the commodification of fashion can barely differentiate it from art, as portions of the art community become increasingly concerned with haute brand name artists like Jeff Koons or Damien Hirst that can easily be compared as the Karl Lagerfelds and Marc Jacobs’ of the art world.
It can’t be denied that art and fashion go hand in hand, though often it is fashion photography that will take on themes relating to art rather than artists referencing fashion. Viscardi’s artwork recognizes the expressive potential of a piece of clothing, as well as its affinities with painting materials. After all, canvas is cotton, as is your shirt. In an interesting reversal, Viscardi literally stretches the fashion element over an art structure, to repurpose fashion for art. Fashion is much more present in the general public consciousness than art is. Every person has some opinion on fashion, not every person has engaged with art. Viscardi uses both art and fashion elements to inform each other, and the result is a seamless union (pardon the pun). (Via i-D)
Tessa Farmer’s miniscule sculptures reinvigorate a belief in fairies: not the sweet Tinkerbell image in popular conscience, but a biological, entomological, macabre species translating pastoral fable into nightmarish lore. Constructed from bits of organic material, such as roots, leaves, and dead insects, each of Tessa’s figures stand barely 1 cm tall, their painstakingly intricate detail visible only through a magnifying glass.
Hovering with rarefied, jewel-like beauty, Tessa’s tiny spectacles resound with a theurgist exotica: their specimen forms borrow from Victorian occultism to evolve as something alien and futuristic. Playing out apocalyptic narratives of a microscopic underworld, Tessa’s manikin wonders rule with baneful fervour: harnessing mayflies, battling honey bees, attacking spindly spiders. Presented as wee preternatural discoveries, Tessa’s sculptures conjure a superstitious premise, dismantling the mythos of fantasia with evidence of something much more gothic, sinister, and bewitching.”
Los Angeles-based Tanya Anguiniga’s work belies her upbringing in Tijuana, Mexico with it’s use of textile and color. Her vibrant work often uses materials over existing furniture, forcing the onlooker to reconsider the beauty in these every day objects.