At first glance, it looks like these embroideries by artist Sula Fay pair thread with your average stitching techniques to depict body parts, words, and ancient sculptures on circular vintage Victorian-era doilies. That fact alone makes them unconventional in the traditional sense of the craft. But, the artist adds one more special touch to make these works all her own – strands of her hair. Fay threads a needle with her locks and passes it through the aged fabric. She describes her reasons and process:
As an adolescent, I struggled with my hair. Being of half African and Puerto Rican descent I inherited very naturally curly hair. Alongside my white skinned, long straight haired friends, I felt different and unattractive. I went through many gruelling hours brushing, combing, and straightening. That process was very difficult and tedious, just like the process of my embroideries. To embroider with my hair I have to straighten each piece separately. (Via Booooooom)
Often treading between reverence and ridicule, the mystifying allure of art that reiterates sexual transgression remains suspended within a deviating purgatory of the sacred and the obscene. Buoyantly drifting within the underbelly of normative culture, the erotic and transgressive create a synergetic relationship in a strike against societal conventions. Through a crude presentation of social perversions, the atmosphere created through sexually transgressive art permits an insight that challenges not only sexual precepts, but invites a critique of human behavior irrevocably influenced by social structures. In an explosive resurgence of suppressed sexual impulses, the following artists create frantic, tense and exquisitely obscene renderings of deviations and sexualized social distortions.
The world of dollhouse miniatures is dominated by sweet structures with period-perfect furniture and impossibly tiny accessories. Leanne Eisen subverts all expectations with “Play” her photo series of 1/12th scale brothel, strip club and other sex trade sites. Eisen makes the pieces of these meticulously detailed scenes herself, having found difficulty in sourcing ready-made miniature condoms, porn magazines and sex toys. The spaces have a seedy, disreputable air enhanced by the details—a used washcloth hangs haphazardly over the sink, sequined shoes are abandoned on the strip club stage, and a forest of egg timers sits under posted house rules. Although Eisen had not been in an actual brothel, she researched films, documentaries, books, and photographs to create her voyeuristic spaces.
The photographs in “Play” are enlarged, playing with scale to disorienting effect. Scenes that are rendered in miniature are suddenly life-size again, with no referent of scale in the images. These are realistic spaces but they are also fantastical. No woman will ever spin on the golden pole. The cow clock in the kitchen will always read 10:10. These abandoned rooms tell their stories through their contents. She says:
I am very interested in residential spaces; the artifacts that we accumulate and leave behind, and how they tell our stories in our absence. I also find the idea of a space that is seemingly a workplace as well as a residence intriguing. In these photos, the viewer takes the role of voyeur, and can take the time to analyze the setting at a perhaps more manageable, less intimidating scale.
The series also serves as a commentary of the accepted social roles for women in a residential space. Where a traditional dollhouse might have a domestic mother figure keeping house, these spaces are intended for women as sexual objects. Whether in the sad paneled room with the pink-clad single bed or in the black walled sex chamber with its red X and metal cage, these are spaces intended to commercialize women.
Through detailed conceptualization, deliberate craft and artful photography, “Play” blurs the lines between whimsy and menace, making pointed observations about the place of women in this world.
Through the metamorphic conversion of discarded paraphernalia given a second life, art created from materials otherwise destined for a landfill has turned waste into resource. In a conscious reflection of a recycled object’s inherent value as a cultural statement, the fragmented disarray of salvaged goods conjoin as a reflection on the surplus of consumerism. Computer relics and plastic toys from the 1990’s resurface as jarring, three-dimensional works that reestablish a value beyond their initial introduction as cultural commodities. Extending the life of goods long since forgotten, the immortalization of a wastefulness that continues to swell stands as not only a poignant reminder of the ecological decay resulting from our consumption, but the opportunity to revisit and remake otherwise quotidian, superfluous goods.
Working predominately, if not entirely, with upcycled goods, the following artists create stunning installation and sculptural works that are a visual whirlpool of texture, color and line.
Playing on the enticement of the black mirror, or, the darker recesses of our own perceived realities, fascinations revolving around the occult has infiltrated and renegotiated the perceivable world as we know it to be. Contemporary examinations of the occult and mysticism has surged in creating a more modern vernacular of symbology rooted in spiritualism, skewing the tangible under the scope of what is sensed and experienced as opposed to what is seen. Confronting the enigma of the unknown, investigations of the preternatural have transformed the material world through its semi-erotic explorations of the unconscious and the supposed spirit world. Evoking a sense of histories long since passed, fascinations with the paranormal are found not only within its connotations with Surrealism and Dada, but has since found itself increasingly commercialized through a dilution into popular culture.
The following artists present an elusive understanding and reflection on mysticism and the occult. Straying from any form of irony, kitsch or inapt nostalgia, their employment of the occult acts instead as a new means of dialogue and spiritual resolve.
A giant red ball has traveled the globe for the past 13 years. Aptly called the RedBall Project, it’s stopped in cities from Paris to Perth and is currently stationed in Rennes, France at the historic Place de la Mairie. It’s there from July 3rd to July 9th as part of the Les Tombées de la Nuit Arts Festival.
The larger-than-life inflatable sphere is currently squeezed into the Opéra de Rennes’ narrow archways and begs for the passersby to interact with it; at 250 pounds and 15 feet tall, it’s hard to miss. Reminiscent of a child’s toy on steroids, it adds a sense of playfulness to the landscape as it’s photographed, touched, and even bounced into.
The creator, Kurt Perschke, explains the idea behind his sculpture:
The urban environment is overbuilt and full of possibilities, and the project is about seeing the sculptural spaces of a city. The humor and charisma of the piece allow it access to the city and invites others into its story. I think it’s essential for public work to do more than be “outdoors” – it needs to live in the public’s imagination. (Via designboom)
Tucked away in the middle of California’s Mojave Desert is a tiny pool whose location is unknown to the public, identifiable only by guarded GPS coordinates. It was imagined by Austrian artist Alfredo Barsuglia, and is technically open to the public. If you want to swim in it, all you need to do is ask the MAK Center for Art and Architecture in West Hollywood about the longitude and latitude points and obtain the special key to open the pool’s cover.
The four-foot by 12-foot body of water is available for 24 hours to any one person or small party, and you must bring a gallon of water per person to replenish the pool. Its minimalist stylings are painted white and stands out against the sandy and arid terrain. Alone in the desert, it’s an oasis for a weary traveler or nomad. Barsuglia calls it Social Pool, and meant for the swimmer to consider the societal ramifications of this outdoor installation. A description of the project reads:
The work embodies the massive socio-economic changes that have taken place in the last forty years. It thus understands itself as the product of an economy in which privacy and immateriality have been fully commodified… For many a consumer, art is expected to operate according to the principles of the service economy rather than following humanist ideals of intellectual or moral stimulus and education.
Whether or not this pool encourages this deep thought or is simply a well-thought gimmick remains to be seen. (Via Huffington Post)
Since the first photograph, photography has ushered forth in producing a consequential depiction of truths through the containment of fleeting moments in a tangible and archival format. Instances in time are revealed as light falls upon sensitized paper, asserting the presence of each photograph’s content. The picture plane remains uniform, constricted by its own variable, physical dimensions: a synthetic simulacrum of a three-dimensional reality that will forever remain in constant flux. And yet, in spite of presenting elements of proof based within reality, the upheaval of the actual authenticity of the photograph has found itself under siege.
Through a variety of executions, the following artists working with the photographic medium twist this truism in unique and awe-inspiring ways, abolishing preconceived notions of photography through a re-presentation of the photograph. In their reconsideration of the ordinarily static picture plane, form is pushed beyond the confines of the image through the destruction, manipulation or interference of the photograph.