If you have a soft spot for cross stitch and tattoos, the work of this artist could well be your new favorite thing. Turkish tattoo artist Eva Krbdk is carving a new niche out for herself in the world of body art. She inks up cute, simple and striking designs for clients who are looking for something a bit different.
Krbdk tattoos anything from Marilyn Monroe, to Darth Vader, to roses, foxes and popular sayings. She of course, isn’t only limited to cross stitch designs – there are tons of other tattoos on her Instagram account, including great watercolors and pixelated work. She has a great eye for color, geometry and simplicity. Not relying heavily on black, or outlines to create definition, she utilizes spacing and natural contrast to create her distinctive markings. (Via Bored Panda)
Photographer Nina Röder creates Mutter Schuhe (Mother’s Shoes), a series that through a variety of portraits visually explores the evolution of three generations of women: her (Nina Röder), her mother, and her mother’s mother. All three women are wearing Röder’s grandmothers clothes and they are sitting around in the old rooms of her (Röder’s) mother’s childhood home. All women maintain more or less the same expression, one of nostalgia for the most past, as they reenact mundane activities throughout the home. Through her choices of clothes and props, the artist is looking to explore how different individuals, her family, recall the past and how it evolves as time wears on.
“The personal narrative of my mother and my grandmother effects my life in a very dominant way: Almost every artwork I’ve done so far is influenced by conscious or unconscious aspects of family stories. For example, my grandparents were expelled from Bohemia (now Czechia) after the Second World War so they lost everything they had. I guess that is the reason why my grandmother now is keeping all her old clothes or furniture from the last 40 years. Almost all my ‘models’ are wearing clothes from my grandmother.”
Photographer and Indiana University Northwest professor Jennifer Greenburg has been gathering vintage negatives for years. In her work Revising History, Greenburg appropriates these black and white images by digitally inserting herself as a main character, mimicking the gestures of the moment and the clothing of the period. By circumventing someone else’s photographs and calling them her own, Greenburg exhibits the innately false nature of memory and the family snapshot.
I think a lot of artists collect old photographs as there is a sort of mystery and unknown to them. What made you decide to insert yourself into someone else’s memories?
“When I look at someone else’s life though the lens of someone else’s camera, I create my own stories. I have done this as long as I can remember. Usually when someone shows you their photographs, they cannot help but narrate the images. I ignore that narration. Instead, I make up a fantasy in my own mind. I idealize everything– becoming quite nostalgic– even if the subjects in the photos are completely unknown to me. I prefer a wistful interpretation. Photography is an interpretation of what is in front of the lens. Yet, as a culture, we rarely acknowledge that. We still believe that what we see in a photograph is truthful.
“The fantasy of all photographs is what I am commenting on through my work. By placing myself in a time and place that could not possibly be real, I address the concept that the lens does not hold much, or any, truth.”
Yes Yes!! I’m enamored with these drawings by Hope Gangloff. A touch of that downtown super-cool, but with a candid feeling of tenderness – Hope has a distinct way of making you feel like you know these people, and that you’re sharing a special moment in time with them… Or at least I’d like to…
Nicolas Deshayes lives and works in France. He utilizes vacuum-formed plastic, anodized aluminum, and polystyrene to create textured abstractions. His compositions remain static until an area is covered in the formed plastic, the work then resembles flowing color fields. Like glimpses into another dimension his sculptures ebb and flow as colors swirl around the viewer.
We’ve all seen the “Before and After Photoshop” versions of photographs, displaying the ways in which various media distort our perception of ideal beauty. But what would these images look like in other countries? With her series Before & After,Esther Honig, a radio journalist based out of Kansas City, asked just that. With the help of Fiverr, a website for freelancers, she got in touch with artists from forty different countries; emailing each a self-portrait, she wrote, “Hi, my name is Esther Honig. Make me look beautiful.” When they did not understand the assignment, she simply told them to make her look like the most popular fashion models.
When artists from twenty-seven countries replied, she was astonished with the results. Some edits were so dramatic that she yelped aloud; others, like the image from Morocco, in which she was given a hijab, stole her breath. Some cultures favor a bare face where others apply makeup. Perhaps the most shocking aspect of the work is the overwhelming presence of Western feminine ideals: pale white skin, pink cheeks, a dainty nose, and wide eyes contoured with trimmed brows.
In the end, the series expresses the extend to which often oppressive beauty ideals are meaningless; where a woman is declared beautiful in one culture, she might be plain in another. Yet for all women, regardless of ethnicity and background, the pressure to be beautiful remains, propagated by the whims of the contemporary media. Writes Honig, “Photoshop allows us to achieve our unobtainable standards of beauty, but when we compare those standards on a global scale, achieving the ideal remains all the more illusive.” (via Buzzfeed)
Whether David Mesguich is creating sculptures or painting with watercolors, he maintains a basic color palette, heavy in contrasting blacks, whites, greys, and tones of sepia. His geometric sculptures of faces and people look like they were printed from a 3D printer. This conception gives his figures a digital effect that, when paired with the size, gaze, warp effects, or placement of them, has the potential to unsettle a viewer. This effect is even more pronounced when considered alongside Mesguich’s cardboard CCTV camera sculptures,100 of which he placed in various locations around Marseille. This idea of surveillance is even depicted throughout his watercolor paintings that represent scenes of city life, usually related to mobility and movement. Mesguich’s work seeks to challenge “modes of control” by addressing the “transparency of windows and shadows.”