Francesco Albano‘s human body sculptures drip, melt, hang, and often appear to be boneless – even the work primarily featuring bones is distorted and lumpy. Working with wax, polyester, latex, iron, and other materials, Albano sculpts shapes and contortions that render the erect and boundaried body flaccid and grotesque.
Albano is “interested in and influenced by a wide range of subjects from philosophical, mystical and spiritual arguments to scientific theories, from psychological studies to real life stories. Albano uses skin and bone as a critical and personal tool of expression to focus on the effect of societal pressures and psychological violence on the human body and collective conscience. More than an inner envelope the artist defines the human skin as a limit and an identity, that interacts with outer world.” He’s lived in Istanbul since 2010. (via my amp goes to 11 and galerist)
Israeli artist Ronit Bigal transforms the body into a text. For her “Body Scripture II” series, Bigal uses digital photography overlaid with Biblical text (in Hebrew) and floral ornamentation drawn with black Indian ink to create these stunning images of body calligraphy. The body is exposed and abstracted, the text contouring bodily landscapes and capturing hidden textures and unspoken eroticism. Upon close inspection, the text on the bodies is hard to read. It’s small and intricate, but the overall effect creates a visually hypnotic pattern. Bigal places the text so thoughtfully around the curves of the body that it is hard to believe the text was not drawn directly onto the subjects. Her work also leaves me curious about which passages she placed on particular body parts, and if she was deliberate in the placement.
Her Saatchi profile explains that these images “…are almost abstract and enigmatic, arousing the viewer’s curiosity to discover what are the photographed objects, what meanings lies behind the texts; and whether there is a thematic affinity between them or, perhaps are the associations purely aesthetical?” (via my modern met)
Ariana Page Russell has a hypersensitive skin condition called dermatographia that informs the bulk of her work. Her immune system releases excessive amounts of histamine. If she scratches her skin, this will cause her capillaries to dilate and welts to appear on her skin for about 30 minutes. This gives her enough time draw on her skin before photographing it, capturing a temporary inflammation. She often integrates cut-up photographs of her skin into some of her work, and even creates temporary tattoos out of these images. Russell sees the body as an index of passing time and human experience, and skin as the organ that visually reflects this transience. Russell currently lives in Brooklyn, New York.
We often think of bodies as opposed to landscapes. The figure belongs to the portrait and natural scenery to the landscape – bodies inhabit the landscape. For Carl Warner‘s series of photographs, though, the bodies make the landscape. Twisting torsos, bent limbs, crevices, and folds are given finer than the typical attention. Layering of bodies and parts with such focus on detail create landscape like images. Mountains, caverns, and valleys seem to rise out of the figures and become a land of skin. [via]
“Museum Anatomy is a collection of documentary photographs of works from museums around the world that have been recreated onto the human body. The artwork goes through a significant process until reaching the final outcome, a photograph of Chadwick, sometimes unrecognizable as a human form, with an elaborate, detailed painting covering a portion of his body. The recreated paintings of these historic portraits recapture the subjects in their own moment in history. The resulting photographs reveal a unification of art combining antiquity, history and technology in a contemporary context.”
“Candace Couse is a visual artist exploring issues surrounding space, place, and the body. Her work examines the basic human need to acquire territory as a prerequisite to identity, as well as the loss of security and anxiety that comes with disorientation. Functioning on the assumption that orientation is primary to all other human experience, the body plays a central role in her art practice as both a mechanism for experience and as the principal terrain that we all initially acquire. Her work eagerly engages with the idea of personal geographies as intimate approaches to orientation and identity that are profoundly detached from collective knowledge and public geographies. ”
The work of artist Ted Lawson reveals a persistent interest in the human body. Though his work is attractive to look at, or at least hard to pull away from, there is clearly a deeper fear being expressed. His art investigates processes related to the physical body such as growth, its needs, its decay and death. Really, these sculptures are physical representations of modern psychological concerns. The tenuous relationship between the body and the mind has been a highly scrutinized theme throughout much of contemporary art. Lawson’s work, though, has a way of striking an especially carnal chord.
Danish artist Troels Carlsen warps classic anatomical illustrations of natural organisms to produce mixed media works on paper. I can’t tell if the drawings that Carlsen’s manipulating are originally produced by the artist or not (maybe a mixture of the two), but the images stand up well enough even without such information. On a purely visual level, the contrast between the illustrative anatomical drawings and Carlsen’s slightly humorous injections works really nicely. But these drawings hold conceptual tones as well. Thick commentary on the body and mind is laid out cleanly for all to see. (via)