The artwork of Hans Kotter is decidedly centered around light. Here Kotter creates tubes of lights that appear to stretch on infinitely into the wall. He uses color changing LED lights that shine behind a warped one way mirror. The backing mirror then duplicates the LED lights infinitely. Kotter’s piece are continually changing as the color of the lights gradually shift and as the viewer moves about the room. Though technically constructed from Plexiglas, mirrors, and diodes, it is really the light endlessly bouncing between the mirrors that compose Kotter’s work.
Hungarian artist Flora Borsi’s latest work was fueled by the emotions she felt after visiting Detroit. The artistic examination of architectural and infrastructural ruin has proven to be a topic of interest for many a creative person. From the ruins of once bustling institutions comes an idealization of the past that in turn triggers reflection on the future. She explains that she was “saddened by the state of abandoned buildings and factories”. She transferred this feeling into her latest project, simply entitled “Detroit”, which is a clever series of photos where she places old photographs of people in Detroit on top of photos she took during her time visiting the city.
Her photos include couples roaming the streets, children ice skating, and factory workers manufacturing tire parts. She merges what she sees as a very alive past and a very much less alive present. Through her splicing of past and present, she addresses the melancholy associated with the decay of an urban setting and the nostalgia of a metropolis in its heyday.
Her series reaches beyond a simple display of sadness and neglect, and the clashing of the city’s past and recent present provides strong grounds for reflection on the idea of rebirth. By doing this, she has somewhat created her own vision of urban decay in a way that is both bleak and hopeful.
Mobstr is an anonymous artist known for his sneaky, cheeky, and playfully subversive graffiti messages. Some of his past works include dingy walls that brazenly proclaim “REBLOG THIS” and “#Graffiti”; other works include cleverly-placed human silhouettes or sardonic social commentaries (check out this one on biodiversity in the “animal kingdom”).
Recently, Mobstr published a series of images of a progressive graffiti “experiment” that spanned the course of a year, entitled “The Curious Frontier of Red.” On the wall of an electricity substation in Hackney Wick, London, the artist engaged in a strange and amusing battle with a local council worker. Mobstr explains the project’s inspiration:
“I cycled past this wall on the way to work for years. I noticed that graffiti painted within the red area was ‘buffed’ with red paint. However, graffiti outside the red area would be removed via pressure washing. This prompted the start of an experiment. Unlike other works, I was very uncertain as to what results it would yield. Below is what transpired over the course of a year.” (Source)
Over the 30 images included in his documentation (see the full series here), you can see how Mobstr’s game escalated: at first, he writes “red.” This word is painted over and re-marked numerous times as it gradually migrates to the top, where, eventually, the words “pressure wash” appear on the brick. The council cleaner then paints over the words “pressure wash” with red, to which Mobstr teasingly replies: “You went above the line.” In a hilarious effort to defeat the graffiti artist, the entire wall is painted red. “Thanks mate, it’s been fun,” Mobstr concludes.
Light-hearted and witty, Mobstr’s “red frontier” provides a visual dialogue demonstrating the battle against (and social delegitimization of) graffiti art. Luckily, Mobstr seems to be having fun with these cat-and-mouse battles, much to our amusement. Check out Mobstr’s website and Instagram to view more of his work.
Menstrual Designer Jen Lewis and Photographer Rob Lewis are redefining body politics in their series Beauty in Blood. Together, they create breathtaking images with an unlikely, and, more often than not, taboo material; menstrual blood. The idea of using her own bodily fluid as a medium came to Jen Lewis after deciding to use a different kind of feminine care product; reusable collecting cup that she would use and then dump its substance into a toilet. She explains that seeing such a bright, red liquid swirl around stark, white porcelain was absolutely stunning. Believing that menstruation is a beautiful, natural part of life that is all too often avoided, the artist decided to capture it in remarkable photographs to open up a dialogue and shed some much needed light on the subject. Jen Lewis explains that this series is not meant to be shocking or vulgar, but exactly the opposite. Her and her partner Rob create each striking image through a process of design, care, and selection.
This series is a celebration of femininity, a look into a healthy part of every woman’s life that we are often taught to be ashamed or embarrassed of. This dynamic duo aims to change the social norm of menstruation being hidden or taboo in society by allowing the viewer to get up close and personal with a natural part of life, not to mention part of the cycle that creates life. Each image claims the true and honest beauty that this significant and momentous part of life deserves. The aesthetic appeal and allure this series holds breaks down the politics of women’s bodies that contemporary society tends to control. Jen Lewis elaborates on this subject. (via FeatureShoot)
“In my experience, women and men are hungry for an authentic dialogue about menstruation and all that encompasses. It is clear the time is now to stand up and speak out on behalf of menstruation. It is a natural, messy but beautiful part of life.”
Luke Jink’s illustrations combine an interesting mix of traditional tattoo flash imagery and folk art illustration styles.
Photographer Patrick Willocq grew up in the Democratic Republic of the Congo and its culture has shaped his work as an adult. In the series I am Walé Respect Me, Willocq provides us with a peek into tribal traditions that are still practiced in the DR Congo. These particular photographs create a narrative that portrays the stories of primiparous (first-time) nursing mothers. They are colorful scenes featuring compositions that are set like a stage, as we see objects hanging from a not-so-invisible string. Willocq speaks more about his images that blend the truth with the fantastical:
I’ve always been fascinated by native tribes because I feel they have a wealth that we have somehow lost. To document this beautiful tribute to motherhood, fertility and femininity, I proposed to some Walés to participate in staged photographs. Each set-up worked as a visual representation of one of the subjects that the Walé would sing about on the day of her release from seclusion. On that day, she sings the story of her own loneliness, and with humor praises her own behavior while discrediting her Walé rivals. (Via Juxtapoz)
It may take a few glances to realize the work of Juan Carlos Manjarrez are paintings and not photographs. Manjarrez captures an amazing amount of detail and realism in his work. His black and white palette coupled with a photographic sensibility only add to his paintings’ hyper-realism. Amazingly, Manjarrez is a self-taught painter – though he has attended graduate school, he majored in architecture. Manjarrez has been exhibiting professionally for the past twenty years.
Enchanting and provocative, the dreamy work of Los Angeles-based sculptor and photographer Amanda Charchian leads a life of duplicity. Simultaneously spiritual and political, her art finds a balance between a transcendent admiration of nature and an intrinsic fascination with the female body.
Ranging from hypnotic crystal installations that give window planes life to sensual and beautiful photographs of female nudes interacting with wild nature, Charchian’s work hosts a wide variety of inspiration: Louise Bourgeois’ feminist sculptures, ancient Greek and Egyptian mythology, spiritual meditation, and the mysterious occult all play a part in the artist’s oeuvre, comprised of tremendously unique and stunningly cohesive works.
While, with her cast of all-female photography subjects and her emulation of Ms. Bourgeois, feminist undertones are highly evident in her projects, it is her interest in alchemy and enchantment that most aptly summarizes her body of work. She explains:
“Employing 2D and 3D mediums to transmit mystical experience into matter, my art practice is a means of communicating the subconscious sphere into objects; creating possible portals to ascend beyond known reality.” (Facebook)
Whether photographic or sculptural, her captivating pieces evoke a sense of otherworldliness, uniting the natural with the supernatural and, ultimately, bringing the transcendent down to earth. (Via Ssense)