Geoff McFetridge is a creator living in Los Angeles, California. He has his hand in many things, most recently the title sequence in Spike Jonze’s ‘Where the Wild Things Are’, and never seems to disappoint. At the moment, he has a skate company called The Solitary Arts, a wallpaper company called Pottok Prints, a design business called Champion Graphics, and does gallery/museum shows in his spare time. I’ve been following his work for years, and his work deserves every bit of recognition is receives. I can’t wait to see what his hand has in store for us next.
Croatian photographer Ino Zeljak’s series entitled Metamorfoza highlights peoples resemblances by combining multiple portraits into a single photograph.While we’re all different in our own special way, some of us look pretty similar to one another. Because with over 7 billion people in the world, many people have the same types of facial features, whether we’re related to that person or not. Sometimes it’s genetics while other times it’s just pure coincidence.
Using brothers, best friends, and parents, Zeljak splits the faces in half with Photoshop and expertly places the disparate parts together. Features are lined up and blended perfectly. His handiwork is so subtle that each image is almost indistinguishable as two people. Instead, they look like one slightly unsettling person who has different color eyes or a crooked nose. But all things considered, it’s reveals that we can look so homogeneous that you’d hardly give it a second glance. (Via designboom)
British artist Anthony McCall (born 1946) has a cross-disciplinary practice in which film, sculpture, installation, drawing and performance overlap. McCall was a key figure in the avant-garde London Film-makers Co-operative in the 1970s and his earliest films are documents of outdoor performances that were notable for their minimal use of the elements, most notably fire. After moving to New York in 1973, McCall continued his fire performances and developed his ‘solid light’ film series, conceiving the now-legendary Line Describing a Cone (watch a video of a gallery-goer’s interaction with it), in 1973. These works are simple projections that strikingly emphasise the sculptural qualities of a beam of light. If you want to know more about the light magician, you can read an interview with Anthony by the writers at BOMB Magazine.
The series Hipster in Stone was captured by photographer Léo Caillard and retouched by Alexis Persani. The series’ premise is simple: classical statues don a hipster wardrobe. The effect, though, is amusing. A simple change or addition of clothing seems to transform each figure’s timeless grace to a modern boredom. Subtle expression becomes cool aloofness. However, the photographs do draw a strange similarity between ancient figures and modern models. A preoccupation with appearance and appreciation for (or obsession with) physical beauty seems to never have left us entirely.
Brian Cattelle is an American photographer who has embarked on a nation-wide project to photograph one nude model in each of the USA’s 50 states. Driving his concept is an exploration of the contrast between natural, nude beauty, and the decay of manmade environments; explore his current collection, and you will see female figures integrated within architectural wastelands, the black and white tones highlighting the illumination of soft skin amidst shadowy, shattered rubble. Entitled BARE USA, the project emerged from Cattelle’s desire to challenge himself and his work. In a statement provided to Beautiful/Decay, he explained:
“I wanted to tackle a project that would prove I was able to work with models in often difficult and uncomfortable situation. I wanted to show I was willing to go to any lengths to get a great shot. I also wanted to show the level of organization, execution, and dedication I was capable of. It seems that my initial intention was to prove these points to others, but in the end the true reward was proving them to myself.”
Part of what makes Cattelle’s project so imaginative and emotionally evocative is his approach to abandoned places. “People often express sadness about some of these great abandoned structures,” Cattelle observed. “They don’t make me feel sad. Change is change […]. I do find myself captivated by a sense of awe and wonder when I soak in my surroundings. I think about how much effort went in to building these places, how much work took place here, and how quickly that can be lost.” By incorporating nude models, Cattelle reinvests desolate spaces with hope and optimism for the future. As he concludes, “I think my work is important because I am creating art and bringing something beautiful to this world by injecting new life into these dead and forgotten structures.”
Last summer, Cattelle completed successful shoots in 30 states, and is working on completing the final 20. If you like his concept, check out his Kickstarter project. There, you can learn more, make a pledge, and receive beautiful fine art prints in return. Visit Cattelle’s website, Facebook, Twitter, and Instagram to see more of his work and follow him on his journey.
Marta Soul’s alter-ego unapologetically kisses 18 different men in the photography series “Idilios.” The red headed protagonist moves from idealized scene to idealized scene engaging in a single kiss with a different suitor each time. Soul says on her site, “immediate satisfaction is found in the kiss. It is the begin[ning] and end[ing] of the entire narrative scene and it is the iconographic element of the image too.”
It is true that the kiss is the central role of the series. Soul poses the lovers with their back turned towards us, bodies entirely choreographed, masking their expressions. Perfectly dressed and suited, the kiss is the only thing we know about the lovers, aside from the incredible wealth demonstrated by their scenarios. With these gestures, the passion between them is concealed from us and allows us to imagine the story between them.
In some ways, the saturation of colors in these passionately distanced and stylized environments are reminiscent of a 1950’s film. They might provide us with the possibility of Hollywood romance: exquisite clothes and remarkable vistas. But, more aptly, the unidentified lovers offer us a paperback romance experience where we can transfer our own fantasies into a world that does not exist outside a creative director’s imagination.
A giant red ball has traveled the globe for the past 13 years. Aptly called the RedBall Project, it’s stopped in cities from Paris to Perth and is currently stationed in Rennes, France at the historic Place de la Mairie. It’s there from July 3rd to July 9th as part of the Les Tombées de la Nuit Arts Festival.
The larger-than-life inflatable sphere is currently squeezed into the Opéra de Rennes’ narrow archways and begs for the passersby to interact with it; at 250 pounds and 15 feet tall, it’s hard to miss. Reminiscent of a child’s toy on steroids, it adds a sense of playfulness to the landscape as it’s photographed, touched, and even bounced into.
The creator, Kurt Perschke, explains the idea behind his sculpture:
The urban environment is overbuilt and full of possibilities, and the project is about seeing the sculptural spaces of a city. The humor and charisma of the piece allow it access to the city and invites others into its story. I think it’s essential for public work to do more than be “outdoors” – it needs to live in the public’s imagination. (Via designboom)