Sabato Visconti is a photographer, visual artist, and digital puppeteer. He fine-tunes his art on an atomic level by using a number of techniques that manipulate code and scramble pixels into what is often surprising results. “Glitch art,” as the aesthetic is called, uses a palette of static, snow, and other shadowy artifacts to create art that is, despite its hi-tech nature, exceedingly organic.
The intense colors and bio-rhythmic patterns that emerge from Visconti’s glitched-out photographs are raw and still retain an emotional connection to their subjects. Some are more abstract, emerging like clouds of texture that seem by turns woven and crumpled and, when it gets particularly noisy, crunchy. Though it might be counterintuitive, it makes sense that glitch art is organic; after all, artifacts in old-school photographs and film footage have always occurred spontaneously. Now, artists are harnessing that force of microcosmic nature and using it creatively.
“You’re trying to find this really fine balance where something doesn’t break fully, but breaks just to the point that you can see it breaking,” Visconti explains. The tension between form and disintegration is palpable in his work; at times, it’s like staring into a digital void or a watching a snapshot of an identity crisis. He takes it one step further in a collection called, “Vertigo by Alfred Glitchcock,” which takes stills and remixes them into evocative visual mayhem.
Do androids dream of electric sheep? If they do, then this is what they see when they close their eyes.
Muscular stiffening begins between four and twelve hours after death. It starts in the neck and makes movement of the limbs impossible. When it reaches the scalp, it can make the dead body’s hair rise. Like goose bumps on the living.
His breast isn’t moving. The cells in his body have carried out the last of their work, the mechanisms have come to a halt and he is now not going to get any older.
In the chapel of the Pathological Institute of Aarhus University Hospital, the dead are received. Here they are dressed in clothes, their hair is combed and they are laid in the coffin, before we can say our last goodbye to those we have lost.
Here are lying women and men, girls and boys on ice, because they were careless, because they were unlucky, or because their time was come. This woman was found dead in her home. She has just been through an autopsy, which confirmed that she didn’t die the victim of a crime. Soon her body will be dressed and laid in the coffin.
These photos of the dead are purposefully anonymous. In “About Dying” Danish photographer Catherine Ertmann was aiming for the universality of death rather than the stories of these particular dead. And that’s what makes this series so moving. In photographing the dead so intimately, bare of everything, including their life stories, she has made room for the viewer in the morgue—as observer and as deceased. Who doesn’t project themselves into the sewn torso, the half-clenched hand, the freckled cheek? Will it be the zipped bag or the fiery crematorium in the end? How can we live fully if we can’t look at death?
“This project tries to break down the taboo by showing something we rarely have access to, and that death can be both hard to look an but also beautiful. Just like when a new life comes into the world when a woman is giving birth. It deals with the incomprehensible fact that life ends and hopefully remind the audience that our time here is precious and what things really matter while we are here.”
This project was approved by Aarhus Universitets Hospital (University Hospital of Aarhus, Denmark), where she and journalist Lise Hornung worked.
The only complete certainty in life is that one day we will die. It is the most certain thing in the world, and the biggest uncertainty we experience of the world, because nobody can say what will happen afterwards. Maybe that is why we find it so difficult to speak about death.
“The term “urban fabric” often refers to everything that makes up the built environment, excluding environmental, economic, functional and sociocultural actualities. Using raw material culled from an archive of merchant posters Christopher Michlig collected from LA streets, Patternesque is a group of 16 collages, each a pattern study riffing on idiosyncratic typographic anatomy. While each collage is a distinct composition, common threads run throughout. Emphasizing the flexible, open-ended nature of the project, the work also suggests the morphology of urban space. Alongside the collages, Michlig presents a group of architecture-related relief sculptures. Based on a tradition of architectural model making in which massing models are used to dimensionally summarize the fundamental forms of buildings, Michlig’s “City Plan” relief sculptures interpret typographic space as proposed city plans. Reflective of the spaces from which the original posters were collected, while simultaneously nondescript, each city plan forces a consideration of the power dynamic of language itself as an imagined built environment.” – Christopher Michlig
photo credit: Josh White
Photographer and grad student Kaija Straumanis has created a playful self-portrait series in which her image is captured right at the moment a random object seems to be thrown at her face. A pumpkin, book, dodgeball, boot, and even a mojito smash into Straumanis’ head, smooshing her face and glasses into an awkward contortion. Despite the impact of the objects, in each photo, Straumanus stares a seemingly unaffected gaze into the camera lens. The collisions are set during everyday tasks and among familiar environments, resulting in a humorous series of striking moments. According to HLN, Straumanis creates the photographs by layering images into a composite and artfully manipulating them until they appear seamless. She practices mashing objects into her face, looking into a mirror to create the perfect pose, then layers images accordingly. “I feel like it’s disappointing that I’m not actually getting beat up,” Straumanis admits. “I’m duping the Internet!” (via bored panda)
Mexican artist Alicia Paz’s paintings are a cornucopia of fun. Each mixed media piece is literally exploding with glitter, fluorescent ribbons, sparkling jewels, and rainbow colored clouds with bright hight lights. Not one to shy away from attention, Paz’s in your face paintings draw you in and demand that you join in the party at least for a little while.
I’m loving these bizarre sculptures and paintings by German artist Tilman Hornig. I’ve scoured the internet and unfortunately can’t find a single press release or article on the artist but I guess sometimes the pictures do all the talking. More work by Hornig after the jump. (via)
If you can’t get to a beach this summer, then you will be thankful for design duo Snarkitecture‘s new installation at the National Building Museum in Washington DC. The space is filled with 1 million translucent polystyrene balls in a massive wading pool, the floor is carpeted and scattered with deck chairs and beach umbrellas, inviting the beach goers to enjoy a day reading, wading, or playing paddle ball. There is even a summery snack bar available selling popcorn, candy, chocolate bars and soda pop. Every Wednesday the Museum offers different events where the snack bar will also offer bar service.
The Beach is a part of the program the Museum likes to offer each year – they dedicate the 10,000 square foot space to a gimmicky exhibition that will draw the crowds. And this year the honor went to Snarkitecture to produce something that would entertain the masses. Established by Alex Mustonen and Daniel Arsham, Snarkitecture is a design studio that focuses on minimal and intelligent design solutions, not only for spaces, but for objects as well. Drawing their name from Lewis Carroll’s The Hunting of The Snark, the team like a challenge and enjoy re-imagining existing objects and architecture. The poem describes an “impossible voyage of an improbable crew to find an inconceivable creature”, and Mustonen and Arsham take on this idea quite literally. They state their mission as:
Snarkitecture’s approach focuses on the viewer’s experience and memory, creating moments of wonder and interaction that allow people to engage directly with their surrounding environment. By transforming the familiar into the extraordinary, Snarkitecture makes architecture perform the unexpected. (Source)
The duo have been responsible for some very clever installations in many different spaces. You can check out their back catalog here. Or take your bathing suit and towel and head to their artificial paradise. The Beach is open until September 7. (Via Washingtonian)
Michael Wolf’s photographs of Chinese copy artists is absolutely brilliant. I’ve always heard stories about how you can get anything copied in China for dirt cheap but this series absolutely blows me away. I love the tiled alleys that the photos are taken in and the casual nature of the copycats. For instance check out the water flowing towards the painting in the above image. What if that really was the Mona Lisa? Can you imagine someone dragging it into the alley into a puddle for a quick photo op?