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Aritstic Duo Takes High Fashion Photography And Pushes It to An Uncomfortable Perfection

Sandrine Dulermo and Michael Labica - DIgital Photography

Sandrine Dulermo and Michael Labica - DIgital Photography

Sandrine Dulermo and Michael Labica - DIgital Photography

Artistic duo Sandrine Dulermo and Michael Labica turn a strange eye to photography, as they create worlds filled with plastic-like women with color palettes to die for. Having done many photo shoots for celebrities and fashion clients, their photography style is a mix of high-fashion shoots and Hitchcock movie scenes. Their use of dramatic lighting and cinematic sets create an eerie, yet playful, sense of mystery. In the series How to Spend It, a woman that seems to be frozen in an artificial stance like a mannequin, lounges around in extreme luxury. Her all-too-perfect house matches her synthetic and impossibly perfect look. Still, the scene seems too flawless, causing a sense of secrecy.

In the Dolls House, a more playful yet dark series of the dynamic duo, contains a palpable sense of madness. With the intense lighting and absurd make up, this series contains a girl who looks shockingly like a doll. Her limbs are limp and motionless, as if she has been placed like a child’s play thing in her dollhouse. Dulermo and Labica’s sense of color is absolutely breathtaking, as their photography, specifically this series, holds brilliant, bursting hues. However, these seemingly bright and cheery scenes have disturbing and dark undertones. The doll-like girl seems to have no life in her body. She is pale, expressionless, and without emotion. She is trapped in her perfect world, similar to the woman in the previously mentioned series.  Both women hold a hollow sense of plasticity that renders them lifeless.

Sandrine Dulermo and Micahel Labica are masters at creating cinematic, compelling photography with an irresistible palette. They construct uncanny, eerie scenes that are both undeniably appealing and unsettling. (via Behance)

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Kristina Knipe’s Heartrending Portraits Of A Painful Struggle With Self-Harm

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In her recent series I Don’t Know The Names of Flowers, photographer Kristina Knipe examines her struggle with self-harm by documenting the marks and personal effects associated with the trials of others similarly suffering. Through the vulnerability of her subjects– some of whom she knew and others whom she found over Craigslist– the artist reveals a richly specific portrait of her own injury.

Inspired in part by the work of Alessandra Sanguinetti, Knipe situates her subjects within a decidedly natural world. Against a backdrop of wildflowers and floral patterned sofas, her portraits courageously reveal a tension between the beatific organic landscape and the angled, mechanical patterns of scarred and restitched flesh. The title of the work amplifies this sense of alienation, laying bare the tragically unfulfilled desire to connect with the simple purity of a budding rose.

Gently evoking poignant feelings of nostalgia and loss, this notion of innocence and corruptibility is explored further by Knipe’s expertly uncomfortable use of childlike imagery. In Andrew’s Dress, she presents a tiny article of clothing that for a grown man serves an unknowable purpose; as it wavers in the wind, viewers are forced to confront permanent blood stains. Similarly, a Raggedy Ann doll splays herself almost obscenely in a bed, revealing the words I Love You carved into her chest in red. For a particularly devastating image, Knipe shoots a page in a journal, revealing the terrifyingly pained visage of a girl scribbled in crude and childish lines.

Amidst this haunting sense of innocence lost, Knipe’s sprinkles her photographs generously with a dangerous sense of addictive ecstasy. Her photographs are decadent, richly colored and tonally mesmerizing. Scarred flesh is gleaming and sensual, and a beer can explodes orgiastically over a blissful subject. With relentless passion, Knipe invites viewers into a private world, colored by highs and lows that are equally difficult to navigate. (via Feature Shoot and Tischtography)

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Sponsored Post: Think Aloud: Future Fashion

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As with everything else in life technology is changing the way fashion is created, documented, and finally consumed. Long gone are the days of discovering small brands by accident while on vacation or stopping someone on the street to ask them what designer they are wearing. In todays world everyone has immediate access to everything and small fashion brands, stylists, and writers only need a few minutes to create a website or youtube channel and share their vision with the world.

In this short film  “Future of Fashion” i-D explores the way in which the internet and technology is transforming the industry. Supermodel Coco Rocha recounts her experiences of multimedia catwalk performances while Net-A-Porter’s Natalie Massenet talks e-commerce; i-D’s New York Fashion Director Alastair McKimm explores 3D printing, fashion designers threeASFOUR predict the future of wearable tech, and internet wizards OKFocus explain how computers can revolutionize fashion as much as photography has. Join these fashion luminaries as they share stories of fashions yesteryear and discuss how technology will influence fashion in the future.

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Björk Teams Up With Jesse Kanda To Create Dark And Psychedelic Music Video Shot Inside Her Mouth

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Once again, Björk has blown our minds. In her newest music video, Mouth Mantra, Björk teamed up with Jesse Kanda (known for his epic collaborations with artists FKA twigs and Arca) to create something truly unique, psychedelic, and well, frankly, a bit horrifying. The concept behind the video is quite literally being inside of Björk’s mouth. While being given a 3D scanned inside look of Björk’s molars, gums, and tongue, the picture plane twists and twirls, distorting the viewers concept of space and reality, ultimately creating something that is outstandingly awesome, yet simultaneously a little hard to stomach. In an interview with Dazed, Kanda explains, “if there’s one thing I’d like for people to take away from this video, it’s the power of vulnerability.” The push and pull in and out of various modes of discomfort and emotional states gets straight to the heart of Björk‘s new album, Vulnicura (meaning “cure for wounds”). Many of the artist’s songs and lyrics tend to do with more open ended and abstract modes of conceptual thinking, however, this album is much more emotionally driven as it is in reaction to her divorce with artist Matthew Barney. There is, along with her other videos released from this album, a true emotional rawness and purity that cannot be denied. Kanda further explains,

“it’s about having the courage to express yourself and seeing yourself in that mirror. Doing something that scares the shit out of you and sharing it, growing from it, spreading love and courage to others and making the world a warmer place to be and relate to each other.”

The intimacy of this work is something to be in awe of. Björk, a master at shock and obscurity, uses each video to take the viewer into her strange yet beautiful and clever world. The intensity of her heart wrenching vocals paired with a montage of visual distress and alien like images mimics a sense of anxiety, confusion, and isolation. Despite her bizarre take on expression, the artist, who is undoubtedly one of a kind, always perfectly gets her point across clearly and profoundly.

Kanda thanks Prettybird UK, Dentsu Lab Tokyo, Rhizomatiks Research, and One Little Indian for helping out with developing the technology used to create the video. He and Björk plan to release a 360º version. (via The Creators Project)

 

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Uldus Bakhtiozina’s Beautiful Photographs Of Russian Fairytale Narratives

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Beautifully designed costumes sets the stage for artist/photographer Uldus Bakhtiozina’s pictorial essay “Russ Land”. Shot in a rural setting, Baktiozina, recreates a narrative based on Russian folklore. Through magic and her own designs she sets forth in capturing a time when the earth was occupied by knights, fair maidens and the forest. She features characters called Baba Yaga (the old woman with knowledge) and Mikulishna (the beautiful), who are familiar figures in fairytales known throughout the world.

The photographer’s hand made costumes are elaborate variations on a theme, most notably in the head dress which the artist emphasizes with great detail in this series. The intricate construction embraces the forest itself, ranging from crowns made of nest like sticks to black and white spider webbed veils.  She works with a generation of young Russian artists, who she claims is the inspiration for her pictures and continues to challenge stereotypes in “Russ Land” by showing women as knights and a fair maiden as lothario(a).

Bakhtiozina was born in Saint Petersburg, Russia from a mixed religious background. She received her education from the University of the Arts London and is credited as the first Russian speaker at TED. She frequently features herself in her work first gaining recognition for a project called “Desperate Romantics”, a series of ironic self portraits. Instead of a digital camera, Bakhtiozina prefers using analog stating ‘it’s better suited at capturing the nature of an object’.  She currently runs a studio dedicated to the visual arts in her native Russia.  (via demilked)

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Public Library in Western Africa Incorporates Clay Pots Into Ceiling

 

Berlin based architect Diébédo Francis Kéré grew up in the west African nation of Burkina Faso. Kéré is the founder of  Schulbausteine für Gando, a non-profit organization that provides aid in education, health and infrastructure for Gando, his home village in Burkina Faso. He uses his architecture firm, Kere Architecture, as an agent in his quest to strengthen Gando. Kere Architecture has built office buildings, schools, libraries, and opera houses in Burkina Faso in addition to its many completed projects around the world. Check out this public library in Gando: clay pots, provided by members of the village, are embedded in the library’s ceiling to provide “natural illumination and ventilation”. (via)

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Philippe Baudelocque Draws An Infinity Of Constellations On Graphic Animals On The Walls Of Paris

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Giant monochrome webs of constellation materialize from a charcoal black wall, leaving the imagination floating, thinking we can envision anything we’d like. By connecting the dots, an image appears; it’s a gorilla, a fox, an owl or a hippopotamus. Philippe Baudelocque tames the stars on buildings’ front walls throughout the city of Paris, creating poetic packs of animals.

“I prefer the experience of art rather than the final piece of art. That explains why, drawn out of chalk, the illustrations are ephemeral. A risk the artist is willing to take, because that’s how he started his series and that he would like it to end.
The contrast between the black and white colors, the empty wall and the countless strokes bring another dimension to the illustrations. As if the artist wanted the animals to come out of the wall and talk to us. And they are, by the way they honestly stand, asking for nothing; confident that they are being understood. The stars and the animals represent unattainable immensity, identifiable to a lot of us. The combination creates a fantastic scene where the possibilities of interpretations are infinite.

Through the stillness of the black and white animal bodies, a feeling of compassion and kindness speaks to us. That’s the intention of Philippe Baudelocque : his illustrations gently suggest simple emotions to everyone.

Discover more of Philippe Baudelocque’s work on his website and Instagram.

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Vinicius Costa’s Surreal Digital Worlds

Vinicius Costa creates glossy surreal worlds where anything is possible. In his densely rich and bizarre worlds plants take on human characteristics, pill bottles are turned into homes, and nature is replaced with richly frosted cupcakes and sweets. I’m not sure about you but I’d be first in line to live in Vinicius’ deliciously insane world.

 

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