Pierce Thiot and his wife, photographer Stacy Thiot, have been collaborating on an ongoing project titled “Will It Beard” wherein the couple test the limits of what a beard can hold. Pierce tells BuzzFeed, “Over Christmas break, my mom had her grandkids do a talent show for her (she’s an adorable grandma). I tried to put as many pencils as possible in it for my ‘talent.’ I got over 20. Needless to say, my mother was very proud.”
Since then, the couple has put dried pasta, flowers, chips, matches, balloons, scissors, and even Mr. Potato Head pieces into Pierce’s beard. Through this playful series, the Thiots prove there is more to beards than just looking cool. You can keep up with the project’s progress on Tumblr and Instagram. (via moarrr)
Collaborators Marquismontes must be a fashion shoot chameleon, able to shoot in hundreds of various styles, looks, and techniques that keeps the viewer on their toes and wondering what they’ll do next!
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If you want to say something, say it on a cake. People have come out via frosting, and now graphic designer Sarah Brockett created the Bold Bakery project as a way to impart some sassy sayings onto sweet treats. Curse words abound, they are on full display on cakes, cookies, and in the filling of a pie. The juxtaposition between the beautifully-crafted baked goods and their harsh sentiments make this series amusing. It might make you hungry, too. Brockett explains the thinking behind her bakery:
Though it’s branding may make it appear cute and friendly, the Bold Bakery is not where you want to purchase Grandma’s birthday cake from. It is, however, the perfect place to have a pie created for your cheating husband, or your bratty pre-teen daughter. This establishment simply oozes with sarcasm and sass. Don’t have anyone on your “shit list”? That’s okay. Plenty of our customers partake in “cake wars”, where they gift their friends with raunchy baked goods for no reason at all. Sometimes a little crude humor and chocolate cake is all you need to get by in life. (Via iGNANT)
French photographer William Farges‘ series “White Line” features surreal reflections of body angles, parts, and positions. Farges creates new shapes and figures by placing the reflections of nude bodies side by side, representing a continuity of form that is both startling and elegant. The series is, of course, named for the white line that dissects his diptychs – an element that emphasizes the new forms’ symmetry as a product of an inversion. These forms reach and pull into each other, appearing as if each could disappear into the other. Farges’ images are Rorschach-like deconstructions that are smooth and round and contained. “White Line” is the result of another series of Farges that similarly deconstructs and reimagines the human form, “Chimera.” (via feature shoot)
Anonymous Spanish art collective Luzinterruptus has installed their latest public interventionist project, “Consumerist Christmas Tree”, as part of Lumiere, a citywide celebration of light that takes place in Durham, England. To construct this 9 meter high tree, the group asked people to donate their plastic bags in exchange for cloth ones, resulting in a donation of around 4,000 bags. In addition to the tree, Luzinterruptus created strands of garland by installing lights in leftover bags and hanging them across streets. According to the artists, the tree “is an installation that will help to raise awareness of the excessive use of plastic bags and the consequences that this consumption has on the environment…We thought about a grand Christmas tree, built of the bags used during the period prior to Christmas, the dates in which their use dramatically increases.” (via unknown editors)
Last week, we shared the work of Lauren Everett and her Rocky Horror portraiture project. This week, we’re proud to feature Devotion, a series of photographs exploring the inner worlds of Los Angeles’ alternative religion communities—specifically, those surrounding Santa Muerte. With a keen eye for detail, Everett provides a unique glimpse into private ceremonies, such as cleansing rituals and spiritual masses such as Misa Blanca. Also shown are candle-lit altars, where Santa Meurte herself can be seen, represented as a hooded skeletal figure brandishing a scythe in one hand, the world in the other.
Translating as “Holy Death,” the origins of Santa Muerte are unknown, but (as Everett states) she is believed to be a “syncretism of The Virgin Mary and the Mesoamerican goddess Mictecacihuatl” (Source). To her believers, she represents healing, peaceful death, and a safe transition into eternity. Worship mainly occurs privately in homes, where people construct shrines and host ceremonies. As Everett’s photos reveal, devotees also gather at temples to receive group blessings and share stories of healing.
Everett expertly and compassionately explores a community that is not clearly represented (or perhaps even understood) by a more general audience. The imagery absorbs the imagination, but even more compelling are the portraits of the individual devotees engaging in private practices; take Sysiphus, for example, who stands with his wife in blue robes in their temple on Melrose Avenue. Also featured is Orisaneke, a woman who can be seen preparing carnation bouquets for Misa Blanca. These intimate shots invoke the immersive history and tradition of Santa Meurte, as well as the value and beautiful diversity of alternative spiritual practices.
Abraham McNally merges things. Things like powerlines and houses, industry and nature, drawings and photographs. The result is an exploration of what’s organic — organic in the sense of what’s natural and organic in the sense of what’s essential. McNally’s additional sculptural and site-specific work rounds an examination of the schism between “a romantic return to the rural” and “a return to the comforts and realities of American society.”