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Colorblind Photographer Ray Collins Captures The Beauty And Drama Of Water

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Ray Collins sees waves and water in a way that most people don’t. Luckily for us he also captures it with his camera. Collins acquired his first camera in 2007 and seems to have stayed in the water with it ever since, focused on capturing all of the different forms of water. Initially he wanted to take snaps of his surfer friends in his native Australia catching rides and enjoying barrels, but instead was enticed by the blue liquid under their boards.

Collins, who is actually colorblind, is able to focus on the patterns and light play in the waves, and pays special attention to the shapes they make against the sky. His unique perspective shows off the grandness and drama of the seascapes. Normal splashes of water are seen instead as incredible peaks on mountains. The front of a wave turns into a deep canyon which sinks to unseen depths. Collins manages to capture the translucency, strength, fluidity, and the unrelenting force of water all at the same time.

His unique style has won him some hefty accolades in just a few years, including 1st Place for ‘Australian Surf Photo of the Year‘ (2015), he was a finalist in the ‘Smithsonian – Annual Photo Contest’ (2015), and also was the winner for the ‘American Aperture Awards’ – Landscape/Seascape/Nature (2015). He has shot campaigns for Nikon, United Airlines, Qantas and National Geographic, and has a new book out called Found At Sea, which a collection of some of his favorite photographs.

You can also see his daily photos on Instagram.

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Roberto Foddai Turns The Camera On Himself In His Dramatic, Erotic, And Comedic Self-Portraits

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It is the age of the selfie, and yet Roberto Foddai’s self-portraits feel like anything but. His images range from dramatic, erotic snapshots to costumed and posed portraits. The Photoshop manipulations he executes, notably in the “make it double!” series, are both subtle and transformative. He merges pictures of himself into the same frame, doubling the impact. Two Robertos laughing together, two lying on the same bed, and, memorably, one pleasuring his “other” self. The effects are transparent and the narrative in the pictures exists outside of their computerized genesis.

Why the costumes, the playacting and grimacing? Why two Robertos in the frame? He answers:

1. I like to be other people as I am often bored of myself.

2. It is easier to be boring in my daily life and dressing up in photographs fills the need I often have to be different.

3. I think, as Feminist and writer Carol Hanish said “The Personal is Political” so it is me in the pictures but they are often a political statement and maybe not as personal as they look.

We see Roberto Foddai as Freida Pinto. Roberto Foddai as a pink gowned ingénue. Wearing a necklace of shuttlecocks. In a swim cap, a nightgown. In underwear and red socks. Cindy Sherman’s self-portraits in disguise are called to mind, but unlike Sherman, Foddai makes very little effort to camouflage himself completely.

I always liked the idea of documenting my own life for myself. Keeping a visual diary of my life also gave me other ideas or other subjects I could work on. This is clearly a work in progress and without any doubt one of my favourite parts of my work. I often struggle with the way I look but it helps me to look at my life in a more objective way.

In many of these self-portraits Foddai is not conventionally attractive. Sweaty, with decayed looking teeth, and testicles poking through his underwear, these images are raw and unadorned. And it’s that truth in the images, in the portraits, that makes it difficult to look away.

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The Quiet World Of Song Myung-Jin

There is a erie stillness in the work of Korean artist Song Myung-Jin.

 

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Photographs Of Reconstructed Flowers

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Pawel Bownik meticulously pulls each flower apart: disconnecting the leaf from the stem or the petal from the pistil, taking involved notes all the while, so he can, eventually, reassemble each piece back to its original state. His photography, collected here, documents such reconstructions. From far away, each image blooms and seethes with life. However, with a steadier eye, up close, we see pencil marks, bits of string, tape, and pins holding it all together. Like some strange sort of floral Frankenstein, the dead is regenerated.

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Gonzalo Fuenmayor

Gonzalo Fuenmayor’s work examines ideas of dislocation and exoticism through a series of large-scale drawings. Cross-cultural and hybrid identities are explored through obvious and clichéd aspects of tropical culture together with Rococo and Victorian style elements.

The struggle to imagine cultural specificity is inherent in the intersection of extravagant and decadent 17th and 18th century imagery (chandeliers, mirrors, velvet curtains) together with exuberant tropical landscapes. Different strategies are employed in order to subordinate the contradictory into a delicate and imaginative order, with the aim of questioning notions of place and belonging. As the past, the present, the exotic and the familiar collide, absurd and fantastic panoramas arise.

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Assume Vivid Astro Focus

Assume Vivid Astro Focus, an artist collective oozing in an overflow of psychedelic energy, has been making a name for themselves within the art scene since 2001. They have recently published a book that documents six years of their projects, which consists of a combination of multimedia installations and performance art.

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Wim Delvoye’s Photographs Give Mundane Messages Monumental Exposure

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In 2000, Belgian multimedia artist Wim Delvoye composed a series of photographs which appear to capture text and note style messages etched on the side of mountain faces. Known for his quirky sculptural style, like his elaborately carved tires, Delvoye manipulated these photographs in order to juxtapose the mundanity of the displayed messages with the sublime, natural beauty of the world’s structures. With messages like “RUDE BUT CUTE 18 YEAR OLD BABE 018 83 87 480” and “HONEY, DON’T FORGET TO TAKE OUT THE GARBAGE. NINA,” Delvoye cleverly elevates the status of these banal declarations to a monumental scale. In Delvoye’s images, absurdities are reinforced while the overall importance of the messages – because of their ubiquity – is not entirely dismissed. Delvoye’s aesthetic is one of recontextualization and deconstruction – even the structure of website is a testament to his implementation well-known imagery in order to create an accessible and familiar user experience. (via public delivery)

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Judy Fox’s Tromp L’oeils

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Judy Fox creates these bizarre, and stunning life-like sculptures that re-create figures from ancient world mythology and historical depictions. Isolated from their typically mystical surroundings, they become somehow both more and less magical, if that is possible. What amazes me most about them is that Fox creates these entirely out of terra cotta(!)- sort of a fitting material, used to depict Osiris from Egypt, legions of warriors at Qin Shi Huang, Indian gods and goddesses- you get the idea. There is something universally biblical in their man-fashioned-from-clay likenesses…oh and then they are painted over in oils! Some process shots as well for the sculpture of a Satyr above below the jump- all kind of looking like relics from Indiana Jones.

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