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Discreet Photos of Rural Roadside Prostitutes

Roadside Prostitutes Roadside Prostitutes

Roadside Prostitutes

Roadside Prostitutes

There’s an air of both mundaneness and mystery in the series The Waiting Game by Spanish photographer Txema Salavans. The blown-out landscape images were collected over a period of six years, and the intriguing photographs don’t depict hitchhikers – they feature prostitutes. We see women sitting at rural roadside locations along Spain’s Mediterranean coast, including highways, secondary highways, and small byways between towns. Formally, they are not the focus of Txema’s composition. They appear from a distance and sit on the side of the photo’s frame as road signs, wilderness, and construction sites surround them. The routes seem desolate but are still well traveled, as drivers want to avoid having to pay for toll roads, as well as trucks carrying goods and fruit take them from Andalucia to France.

Salavans disguised himself knowing that these women probably wouldn’t want their photos taken in the first place. He wore a surveyor’s costume, complete with an assistant and a surveyor’s pole. The results offer an unconventional into the world of prostitution that takes it off city streets and to quiet moments. (Via Feature Shoot)

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Ye Chang’s Metamorphic Installation Of 10,000 Petri Dishes

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Chinese architect Ye Chang‘s Kong Shanshui/Empty Shanshui is a naturally transforming installation consisting of over 10,000 petri dishes. Part of the “Pavilion of China – Architecture China 2013” exhibition, which recently opened at the Palacio Quintanar in the Segovia, Spain, the piece has a unique, changing quality. The base of the installation consists of layers of white stones which fill the ancient palace’s courtyard, echoing peaceful, meditative gardens. On top of the stones are piles or gatherings of petri dishes, some ten thousand in total, stacked in various forms, resembling miniature hills, mountains and rock formations.

According to Sue Wang at Cafa Art Info, the installation transforms at different stages of the day, citing firsthand that, “…there is dew in the petri dishes in the morning; light is gentle in the morning and the glass is transparent; when there is direct sunlight at noon, the installation is entirely placed in the sun, strongly reflecting, which is in contrast to the dry surrounding environment, making people feel cool; the setting sun is blocked by the house in the evening, so the glass reflects the light from the sky, seen as backlit, it looks like the scales of a huge creature stranded on the beach, with rich tones; the whole glass hills is self-luminous at night, producing a transition effect changing from semi darkness to darkness.”  This daily, natural transformation of the installation not only is a quickly-viewable message of transition, but it’s meditative qualities also call to attention how both art and architecture can effect a viewer’s ability to feel at peace in a home, garden or museum experience.  (via myampgoesto11 and CAFA Art Info)

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Jason Hughes’ Creates Artwork From Shredded Dollar Bills

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Now that the US government is not longer shut down (at least for the time being…), it feels like an appropriate time to visit the work of Jason Hughes. For years, he has used money as his medium, literally. Hughes obtains dollar bills previously removed from circulation and shredded by the government. He takes the bills, weaving them together or applying them to panel. With both approaches, it is staggering to think about the amount of work, attention to detail, and time that goes into each piece.

Sometimes, Hughes will take the scraps and weave them together, while other times he will arrange them to form different icons like a heart, bullseye, and eye. The imagery has ties to American culture. For instance, the star inside of the circle is reminiscent of the classic Converse All Star shoes.

The process of Hughes’ work is as important as the outcome. The act of creating a piece explores ideas of labor, value, and worth. It highlights the disparity between skilled labor and industry in the United States. Jobs that are often tedious, like working in a factory, for instance, are very low on the pay scale. But, they make things we have work and keep our homes, buildings, and society running smoothly.  Another Day, Another Dollar (directly above) reconstructs the dollar bill, which seems to say that yes, another day is another dollar, but when you consider the amount of work that went into that single dollars, it isn’t enough.

By taking this shredded money, which was otherwise worthless before, Hughes assigns a new value by changing its context. Now, composed and presented as art, he creates something that is worth much more than the sum of its parts.

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Livia Marin Ceramics Melt Away Into Beautiful Puddles

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Artist Livia Marin’s Nomad Patterns is a series of classical ceramics depicted in a most unconventional manner. Her representation of the destruction of ceramics is fascinating in the sense that she has chosen to use melted ceramics rather than breaking, chipping, or shattering them in the way they are known to do. In this sense, she has brought a sort of silent, unconventional destruction to the ceramics in her series.

The fascinating aspect of her work lies in the way the ceramics are being destroyed. She merges the ideas of “care and ruin” by making it difficult to distinguish whether the ceramics are being destroyed or put back together.The fluidity of the melted ceramics and the way that the patterns are maintained add a touch of surrealism to the series. The physically impossible nature of her project as well as the aesthetic aspects of her work make for an original merging of physics and art.

In this sense, her work reaches beyond its artistic capacities and underlines the artistic aspects of physics as well as the merging of science and art. Marin’s work merging of the notions of restoration and destruction also provides a reflection on these two notions, which are, in her work two sides of the same coin.

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Rob Simons

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Grainy, dreamlike images from Rob Simons. In addition to being a photographer, he also had a collection of his stories, Things Kept Burning, published in September 2006. He also collaborated with German director Werner Herzog on the script for Rescue Dawn. He also used to be an English Professor at Cosumnes River College in Sacramento. Basically, he’s pretty talented.

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Van Arno

 

Van Arno’s surreal narrative paintings are heroic figurative works featuring religious, folk, pop culture, and mythical heroes in whirlwind scenes that fall in the tradition of fellow low brow painters such as Robert Williams and Todd Schorr.

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Andrea Mary Marshall’s Toxic Women

 

Through a series of provocative self-portraits rendered as paintings, photographs, and film, Andrea Mary Marshall examines the intersection of identity, female sexuality, and consumer culture in the context of the “ideal woman.”

“A Woman is a beast. She is as lovely as she is repulsive. She is one part demon and one part goddess…one part slave, one part muse…one part child and one part mother…these contradictions are what make a woman so intoxicating.” – Andrea Mary Marshall

Toxic Women is a narrative collection of work that looks at the implications of trying to live up to the cultural figment of the “ideal woman”. Through identity play that borders on performance, Marshall reinvents herself as highly developed characters meticulously crafted through the art of fashion, makeup, wigs, and props. For her series of “Vague Covers”, Marshall depicts the “toxic woman” as a dichotomy, born out of a pursuit of the ideal, simultaneously adored and rejected by society. There is the addict, the temptress, the woman with no boundaries, the self-saboteur, the perfectionist and the fame whore—archetypical toxic women Marshall has both encountered and embodied. Beginning with the “Vague Covers”, and carried out through the entire collection, the work explores the space where feelings for this toxic woman turn from infatuation to disgust, from attraction to repulsion.
“We all have our demons. We can’t move into the light unless we’re willing to look at our darkness.” – Andrea Mary Marshall

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Annie Kevans

Annie Kevans

Portraiture is what Annie Kevans does best, and she does it really, really well. Not simply a realistic representation, Annie’s paintings reflect her interest in power, manipulation, authority, innocence, and the duality of truth and falsehood. Pretty heavy stuff for such serene and temperate images. Annie graduated from London’s St Martin’s School of Art, and will have her work featured in the upcoming show “The Power of Paper” at the Saatchi Gallery.

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