Fashimals is a mysterious group of photoshop wizards who combine our friends from the animal kingdom with the hippest fashion statements from the streets of Williamsburgh, NY to the runways in Milan, Italy. How about a Terry Richardson weasel like creature (pictured above) or slick looking lizard in a three piece suit (pictured after the jump?) Fashimals brings all these looks to you and more with a great sense of humor and impeccable style. What else can we ask for?
Estevan Oriol is a brave soul. In Los Angeles, there are some neighborhoods that most people do not have access to. This disconnect between the outsiders and the neighborhoods, allows the mind to conjure up images of what it might be like to live in a gang territory, hood, barrio, etc. Estevan does what most photographers will not and cannot do; he treks into these neighborhoods and captures life in its rawest form. His photographs bridge the gap between our wildest imaginations and reality. No sugar-coating for the media here. Estevan’s work not only deals with street life, but with celebrities. Even music videos. The man is truly talented.
Feast your eyes on more dope images after the break.
At times strangely numb, and at other points echoing a modernist affection for the coldest of structures and surfaces, the most recent work by Philadelphia painter Erin Murray certainly doesn’t lack in focus. Murray’s fixation on the bland, eerily coded architecture of American cities reveals an underlying criticism (or slightly tongue-in-cheek reference) to the simultaneous banality and sinister intentionality that exists in the spaces around us. Rather than allowing these ever-present backdrops of contemporary life to fade quietly into the background, she brings them forward in the hopes that the viewer will find the same suspicious significance in each graphic, expertly rendered façade.
Where her graphite works are dark and slightly ominous, the lush, surrealistic landscapes Murray has sketched out are deliciously disorienting. As a group, they reflect a curious interest in space, place and structure—something that might eventually push Murray’s works off the page and into the 3D realm.
Andreas Laszlo Konrath‘s beautiful photographs of youth gone wild.
In her series, Real American Beauty, photographer and filmmaker Liza Mandelup invites us to follow her on a challenge to define the word Beauty. Throughout the series, we travel with Mandelup to different regions of the country where she exposes each place for its own unique glamor.
The first episode takes us to Mr @ Ms Hair Studio in South Central, LA. Here we meet a group of women who speak about their time spent getting dolled up as therapeutic revival. The second episode brings us to a prom focused suburb in Long Island, New York. There we meet a town of mothers obsessed with their daughters’ ability to fit in. In the third, most recent episode, we are introduced to a boxing community of young Cuban men in Miami, FL. The members yearn to look tough and to stand out (and believe they can do so with the perfect hair cut).
Through her short documentary series, Mandelup stimulates us to question if there is such thing as a singular beauty. Her work hints that the notion of beauty is in no way universal. Her series conveys to us that, possibly, our perceptions of beauty are ingrained in us no differently than our senses of right and wrong. Maybe our aesthetic prerogatives are just as complicated as any other set of ideologies. Here we see that the concept of style is just as vastly extensive as identity itself. Perhaps Liza Mandelup is showing us that the word “beauty” has itself become obsolete.
When Japanese artist Yukiko Morita began working in a bakery as a teenager, she marveled at how cute baked bread was. She probably did not realize at the time that, years later, she would craft a way to make bread into a usable home decorative object.
Introducing her one-of-a-kind Pampshades at Tokyo Designers Week, Morita most certainly has a monopoly on the most glutinous lighting system. Although she declined to name a few secret ingredients, she listed the rest as: “Bread flour, salt, yeast, LED, batteries.” After the bread is baked, she covers it in resin, solidifying the form so it will not decompose.
“As the story goes, Morita worked in a bakery in her native Kyoto eight years ago, subsquently graduating from the Kyoto University of Arts in 2008 and reportedly launching Pampshades as early as 2010 (the name is a portmanteau of ‘pan’—French for bread, derived from the Latinpanem—and lampshade). The brief timeline on her website further notes that the first prototype dates back to 2007 and that she relocated to Kobe as of this year.” (Excerpt from Source and Source)
Lunakhods is an art collective comprising two Toronto-based photographers. Drenched in color and filled with a luminescent haze, their images resemble daydreams experienced beneath the heat of a midday sun. With a touch of surrealism, otherwise familiar landscapes are made unearthly: glowing wells appear in deserts at twilight, and eerie fogs cloud out distant views of mountains and trees. There is a competing sense drowsiness and vitality, transcending consciousness and materializing an alternative reality.
Lunakhod’s photography conveys an emotional and almost cinematic experience of the world. Human behavior is turned into a bizarre and deeply metaphorical reflection of itself; like muses of our solitary, dream-wandering selves, masked figures haunt dark roadsides and rooftops. Elsewhere, someone holds aloft a garden flamingo in an act of both absurdity and reverie. Time is suspended; past and present collide in images aged with dust. In the world of dreams that Lunakhods creates, temporality and concrete meaning become irrelevant — instead, their images explore the spirit, eternity, and subjectivity of a semi-lucid moment.
Visit Lunakhods’ website, Facebook, and Tumblr to view more of their sensorial images. Their work will also be on display at The Keystone Gallery’s exhibition Less is More in Toronto starting June 5th.