Astounding Human Skulls Carved Into Delicate Mother Of Pearl Shells

skull-6skull-1skull-2skull-5

Carved carefully into the delicate surfaces of shells, Gregory Halili’s magnificent human skulls look like forgotten human fossils, discovered long after the extinction of our species. The New Jersey-based artist draws inspiration from the wild plant and animal life the Philippines, where he lived into his teenage years; his medium, black-lip and gold-lip mother of pearl, are gathered from the shores of the island country. The artist’s shimmering skulls are complex bas-reliefs, and his technique, which includes detailed oil painting, is evocative of ancient coins; in the place of hard metal lies a soft partially organic material, and portraits of kings are replaced with ominous skulls.

Halili’s skulls are poignantly fragile, far less durable than human bone. A single slip of a tool, and the tender piece is ruined. The shape of the shell lends itself to the humanoid form; encased within its circular bounds, the skull appears like a child in the womb. The shell material that once protected a gastropod with maternal determination, softly frames Halili’s expert carving. In this way, the artist forces a collision between birth, the “mother” of pearl, and death, represented here with the skull. Like relics washed ashore, these masterful pieces serve as a memento mori, reminding us of our own mortality, our creation and our inevitable demise. Take a look.

Halili’s work will be on view at New York City’s Nancy Hoffman Gallery beginning October 30th and through December 13th. He also has an upcoming show at Manila’s Silverlens Gallery. (via Colossal)

Currently Trending

Advertise here !!!

Grotesque Photos Capture The Pains And Joys Of Womanhood

madison_carroll_03bmadison_carroll_03madison_carroll_11madison_carroll_13

In her visceral, raw still lifes, the 21-year-old photographer Madison Carroll captures the grotesque remains of meaningful moments gone by. Used condoms, pregnancy tests, and blood stains grace her compositions, punctuating a narrative that skips dizzyingly from girlhood to womanhood, from innocence to experience. As if plucked from last night’s waste basket, these soiled items emerge; in the context of Carroll’s clean, immaculate technique, they become all the more haunting.

As if part of some unusual crime scene, waste products are left out, forensically archived by Carroll’s lens. Here, rotting fruit and old bandaids mark not a murder but the more gradual, subtle trauma of growing up, of being woman. Like a pool of blood, tea spills from a delicate, shattered china cup; a lemon, once fresh and aromatic, rots. An egg cracks, the yoke spilling out into a satin pair of Victoria’s Secret underwear like a giant, monstrous ovum released during menstruation.

In Carroll’s disturbing yet thrilling realm, the dangers and joys of femaleness collide in a moment of brutal self-reflection. Death and fertility become indistinguishable. In a frilly, feminine doily, a cockroach lies dead, rotting beside a snuffed-out cigarette. A Clear Blue pregnancy test sits on an old rust-stained rag, the urine and tissue in the toilet simply a blurred afterthought.

Like a hoarder of significant items, Carroll’s lens seeks out that which might be thrown away, forgotten by time. A male lover, sprawled on the bed, is captured asleep, in a state of heightened vulnerability, his pale nakedness pressing against the border of the frame. At the artist’s feet, a condom evidences the intimacy that occurred minutes or hours before. (via Feature Shoot and iGNANT)

Currently Trending

Advertise here !!!

Haunting Photographs Of Places Marked By Tragic Suicides

donna_j_wan_14Dumbarton Bridge, CA (#4)donna_j_wan_11Dumbarton Bridge, CA (#2)donna_j_wan_04Golden Gate Bridge, CA (#3)donna_j_wan_16Golden Gate Bridge, CA (#11)

This series from the landscape photographer Donna J. Wan might at first seem exhilarating, with its sweeping views of turquoise blue, frothy water; however, overlaid each magnificent seascape is the knowledge that tragic suicides have occurred in these exact spots. The artist, inspired by her own postpartum depression, names her body of work Death Wooed Us after a line from the poet Louise Gluck: “Death wooed us, by water, wooed us.”

Wan’s stunning images look startlingly like the work of of Caspar Davd Friedrich, whose dark romantic landscape paintings capture the spiritual bonds between human and nature. Friedrich, who is widely assumed to have suffered from depression, also used the shifting tides, colored with mist and fog, to express the lonesomeness of the human condition. Where the 19th century painter employed a human figure, his back facing the viewer, Wan leaves her bridges and overlooks painfully empty; any (wo)man who has sat and contemplated his (or her) life and death here has since departed.

Wan’s tragic photographs stretch endlessly to the edges of the frame, as if her somber landscapes could barely fit within a single shot. They alternate between vitality and utter silence; where some capture the bubbling surf and faraway beach-goers, others present the water fixed and frozen, still as a glass mirror. The materiality of the bodies of water is powerful; we can imagine their impact, cold and wet. Standing at the precipice, viewers feel the danger of the majestic waters; ultimately, we are compelled to turn away, the unforgettable image pressed into our mind’s eye. (via Feature Shoot)

Currently Trending

Ludmila Steckelberg’s Heartbreaking Images Remove The Dead From Family Photo Albums

16171-51afacf48b482-large16171-51afad99de550-large16171-51afac85c0a30-large16171-51afac3d53ac2-large

For her series The Absence of All Colors, the artist Ludmila Steckelberg creates a visual catalog of death; scouring her old family photo albums, she removes the photographic imprints of the dead, leaving blackened figures in their wake. Like fading recollections of face and features, these blank gaps— merely standing in for the deceased— leave an invisible mark on collective family memory. These old black and white images, now sepia-toned with age, are poignantly robbed of their power to immortalize and preserve those passed away. As with death itself, the act of removal, executed cleanly by the artist, is heartrendingly permanent and cannot be undone.

Steckelberg’s work is an unsetting exploration of the undeniable bond of photography and death. The photograph, though two-dimensional, suggests the three-dimensionality of life; here, the dead return to a state of two-dimensionality, receding from the aesthetic world of the living into an abstracted, flattened plane. The darkness they inhabit is utterly unimaginable to us, and yet they seem to be capable of observing us. In this shocking inversion, the viewer feels watched, gazed upon from the black depths. Pasted on one page of a family album, a removed couple faces into the opposite page, searching its blankness for an unknowable something.

Here, the living are left entirely alone, trapped within a space that once seemed full and vibrant, but is revealed to be merely an illusion by the artist’s careful cutting. Men and women look trapped within the borders of the deconstructed photograph, yearning to leap forth, to reconnect with those lost to darkness. (via Lensculture)

Currently Trending

Ayano Tsukimi Replaces The Dead With Doll Sculptures In Shrinking Japanese Village

14u1wnf3_verge_super_wide 5pkverfi_verge_super_wide on4qr2j2_verge_super_wide

The village of Nagoro is remote location hidden in the valley of Shikoku, Japan. Its small town charm remains enchanting, but its lack of work possibilities has driven its residents to leave for big cities in search for a better life. Nagoro is slowly shrinking.

“When I was a child there was a dam here, there was a company, and hundreds of people used to live here.”

In hopes that she could bring back life to her now desolated hometown of Nagoro, Japanese artist Ayano Tsukimi comes up an unexpected solution.

Tsukimi has populated the village with dolls, each representing a former villager. Around 350 of the giant dolls now reside in and around Nagoro, replacing those that died or abandoned the village years ago.

“I don’t like making weird dolls, but people who blend into the scenery.”

In a recent documentary titled The Valley Of Dolls, director Fritz Schumann explores Tsukimi’s doll-filled world, highlighting the time and artistry that goes into making the figures, and explaining her motivations. (via The Verge)

Currently Trending

Alex Schaefer’s Portraits Explore Fears Of Death And Powerlessness

Hung-Alex-Schaefer_beautiful_decay_01

Hung-Alex-Schaefer_beautiful_decay_08

Hung-Alex-Schaefer_beautiful_decay_09

Alex Schaefer, a senior at New York University’s Tisch School of the Arts, creates portraits that explore the surreal and dark nature of the human experience.

Through bizarre props and Photoshop tricks, Schafer creates the ultimate, dreadful parallel universe- a landscape that enables us to coexist with what most of us fear: loss of control, death, and powerlessness.

Although sometimes comical, the artist places his subject, a man, in several different scenarios that deem him weak. Whether he is being tied down and unable to escape, crushed by rocks, or lost within a television screen- he has reached an endpoint.

Currently Trending

Dead Woman’s Possessions Poignantly Brought Back To Life In 2-Minute Video

473

In 2010, Gemma Green-Hope’s grandmother died; scanning a flimsy memorial service program, the illustrator desired a more intimate way to remember her grandmother. After inheriting her beloved relative’s old possessions, she animated them in search of traces of permanence left behind by a mortal soul. In this stop-motion video, titled Gan Gan, viewers see an entire life literally flash before our eyes; both mundane and exquisite objects are transformed into momento mori, as if we ourselves were at the moment of our death.

The whimsical, nostalgic animation elegantly draws upon literary and artistic themes of womanhood, so that in the wake of Gan Gan’s passing, a fertile, creative and distinctly feminine presence remains unharmed. Green-Hope recites the “Eternal Father, Strong to Save” hymn, a poem associated both with funerals and the sea. The sea remains a theme throughout the entire short film, and bodies of water are often seen as female, powerful, penetrable yet containing mysterious depths. The countryside, fairies, and the hearth—all iconographically seen as the woman—skip mirthfully in and out of the video. Left with the shot a books written about the sea, pulsating like waves, viewers are encouraged to see the matrilineal thread as something permanent and endlessly magical.

For Green-Hope, the cosmic and the personal are intertwined; amidst religious and natural icons, we see photographs that are poignantly unique to the deceased. Similarly, we are told in Gree-Hope’s sing-song voice specific things like “she rode a blue bicycle” and “she once shot a spider.” Unlike the mortal life, this video can be played over and over, forever preserving a memory that might otherwise fade away. (via Colossal)

Currently Trending

Charlotte Dumas’ Unforgettable Photographs Of Mysterious Burial Horses Will Stay With You

13-ringo-arlington-va-201210-arched-arlington-va-20129-buck-arlington-va-20124-rise-arlington-va-2012

At the grave of a fallen soldier stands a pale white horse, regal and majestic, with his mane in tight braids. In Anima, the photographer Charlotte Dumas delves into the quiet moments in the lives of burial horses, known for participating in the funeral ceremonies at Arlington National Cemetery. The magnificent equine creatures— who by day serve as living manifestations of moral ideals, patriotism, and righteousness— are caught by Dumas’s lens in nighttime moments of introspection and rest.

After the flags are folded, after the firearms have rang out, the horses remain in their small box stalls, resting on humble beds of shavings and hay. Shot under Dumas’s gleaming twilight lighting, the animals are pictured in the final minutes before sleep. In stark contrast with the colorful visions of their burial services, they are bathed in a moody Rembrandt-esque glow that streams in from metal bars, seemingly retreating into an unknowable equine psychology.

Yet within these peaceful moments, Dumas captures an anxious sense of unrest. A horse’s glinting black eye remains open as he twists his neck, revealing waves of muscle under short-clipped fur; a long nose, its hair worn away by a bridle’s noseband, pokes out into the light, emerging from sleepy darkness. The neck and back of the creature is fixed in the frame, isolated from the rest of the body, as he goes to stand upright, his withers stained with manure.

The horses range in age: some wear the grey fur of youth, while others are pure flea-bitten white. Seen here, it is as though the horses cannot escape the atmosphere of the cemetery, confined within their dark stalls forever by some invisible knowledge of death. Take a look.

Currently Trending