When her mother was diagnosed with Alzheimer’s Disease, the photographer Isa Leshko faced the prospect of her own aging process and ultimately her own death; in refusing to photograph her family during that time, she retreated to farms where elderly animals were housed and photographed them for her series Elderly Animals. Many were rescued from factory farms where they had been genetically modified, abused, and they were therefore facing premature death; others were part of their caregiver’s families and always had been. Like she would with a human subject, the artist spent hours with her subjects, communing with them on straw beds and sometimes visiting them multiple times.
In the iconic Camera Lucida, Roland Barthes meditates on the poignancy of photographic memory, writing, “Whether or not the subject is already dead, every photograph is this catastrophe.” The well-seen photograph fixes a moment within the space between light and shadow, reminding viewers that the exact instant pictured can never be recreated. In her rich black and white tones, Leshko realizes the potential of her camera to make permanent her elderly bestial subjects, and in the process of remembering each creature, the viewer is forced to recognize his or her eventual death.
The artist writes in her artist’s statement, “I have come to realize that these images are self-portraits,” uniting the living, the aged, and the deceased under a single canopy of mortal experience. Within the glimmers of the blind bovine eyes, the bare bones of the rooster wings, the grey snouts and balding patches of fur, we might all recognize what we must someday leave behind, and we are forced to search for what remains within Leshko’s thoughtful frame. (via HuffPost)
Dear nerds, I present you with something you will love. Pull out your lightsaber and salute the Cult Of Decay!
Video created & directed by Eric Power
Photographer Angela Kelly is yet another creative who is harnessing the current cold to create something special. Her newest photoseries came about when she mixed up a homemade bubble solution (a recipe which calls for dish soap, Karo syrup and water) with her 7-year old son Connor, and braved the early morning cold of Arlington, Washington to see what would happen to the bubbles in the frigid air. Of course, Kelly also brought her camera to document her experiment.
The resulting shots, a combination of high-definition close-ups and macroshots, capture the bubbles as they freeze into glass-like, fragile spheres. While some whither and shrink (like naturally-occurring cold balloons), others gently dropped to the ground like small crystal balls, while others cracked into shards. Says Kelly, “Sometimes in our quest to appreciate beauty, we take for granted even the simplest treasures that can be found in our own back yard.”
“Simply put, I want to encourage others to slow down and appreciate the little things,” she added. “I hope that viewers, when seeing this, are reminded that one is never too old to stop and enjoy the incredible beauty that is around them if they only look and to encourage their children to do the same.” (via huffington post)
If you’re Ophidiophobic, Guido Mocafico’s photo series “Serpens” (1-4) is not for you. Slithering, scaly, sinuous—snakes are one of the most widely reviled creatures on Earth. And yet Mocafico’s still-life photos of snakes in a box, including vipers and cobras, are absorbingly beautiful, full of color and pattern and twisting, supple shapes. In the collected photos of Serpens, which has also been published as a book by the same name, the snakes are like nature’s art swatches, rectangular and saturated.
“The first time I photographed a snake up close, I nearly fainted. I’d always found them terrifying, but also fascinating—an attraction-repulsion I think most people experience when they encounter beautiful animals that creep or crawl. My goal with this series is to explore that intersection of human emotions.”
“Serpens”, “Aranea” (Spiders), and “Medusa” (Jellyfish) comprise the trilogy “Venenum”, all shot on black backgrounds from above, all terrifyingly exquisite. Mocafico worked on these long-term personal projects, published in books and shown as gallery exhibitions, alongside his commercial and advertising activities.
“Each photography session takes about 45 minutes. The expert corrals the snakes into a cloth-lined, clear plastic-sided box. Then I stand two feet away, pull back the top, point my camera—I still prefer the look of film—and wait for patterns and curves to emerge.
This series has been good therapy and education for me: I can handle snakes now and have learned a lot about different species. But I’ve learned most by watching people react to these images. Their fear and desire reveals something primal about our species.”
Looking at these images, there is nothing inherently scary about these reptiles. On the contrary, they are gorgeous—their hues and markings lush and complex. By elevating snakes into art, Guido Mocafico makes us look, really look, at the mesmerizing source of our fear. (Via Juxtapoz. Artist quotes via National Geographic)
Nice outdoor work from mysterious artist 2501. Applying undulating zebra marks all over the place, his style flows nicely from piece to piece, whether he’s doing a huge scene involving horse-riding bandits or understated characters intriguingly placed within the landscape. It seems he’s moving more and more toward a black and white direction this year, and the resulting high levels of contrast produce a nice dynamic between the walls and their surrounding environments. Click past the jump to see more street work and head over to the artist’s site for works on canvas as well.
Nostalgic paintings by Alex Roulette of a fabricated American experience.
Thank you to all who entered the Beautiful/Decay Business Card Giveaway. We have now declared a winner….drumroll, please….
…and it’s Mr. Colin Strandberg. Congratulations, Colin. You’ll be receiving 500 business cards courtesy of uPrinting.com.
Runners up are after the jump. Check em out!