German photographer Thomas Kellner‘s contact sheet photo montages deconstruct iconic architectural landmarks and cityscapes. Each of Kellner’s frames are shot sequentially, then printed in the film’s exact order – no cut/paste or digital manipulation – before strips are cut and then placed together. Each final contact sheet montage’s size depends on how much film Kellner uses for his subject – with one roll of film, the montages are only 20 x 24 cm. Kellner first began descontructing architecture using the contact sheet method in 1997, and since 2003, has been photographing and decontructing buildings around the world.
Of his work, Kellner says, “I think I am more of an artist than a photographer. At the moment I am working on architecture, but it is not classic architectural photography. There are definitions in art about ‘construction/deconstruction’ or ‘collage/decollage,’ but I don’t think any of it really fits what I am doing right now, maybe my work is closer to conceptual art or conceptual photography. Many have said it is ‘very Germany,’ and that might be closer.” (via art chipel)
Environmental and seasonal artist Nicole Dextras is no stranger to using ice as a medium. For her series, “Iceshifts,” Dextras combines ice and clothing to create deconstructed wardrobes frozen in time, then photographs them up close and within natural settings. Often, the clothing has been frozen over several winters, creating layers and layers of ice. When Dextras composes her photography, she positions the blocks of ice to effect beautiful light refractions, giving the work a haunting and ethereal glow. The clothing appear to be specimens, ready to be excavated and studied. Sometimes, Dextras will include plants or leaves when creating her pieces; she’s even used stockings for arms and bras as wings to illustrate the many layers of the self .
Dextras explains, “This frozen wardrobe acts as a metaphor for the multilayered affinities between the self and the environment. On a deeper level, the mercurial aspect of ice alludes to the transient nature of the environment and of the inherent poetic beauty of the ephemeral.” (via my modern met)
French artist Julien Spianti‘s oil paintings almost look like watercolors. The way he blends and creates depth, color, and texture creates a dreamy and familiar aesthetic. His work often features human figures in various environments that seem to bleed into the canvas. Spatial relationships are deconstructed and appear fluid, a sense of disappearing space and the blurring of boundaries. Landscapes and interiors blend into each other, and the effect created is mythical and resonant. Each painting’s evocation depends on what element of the composition he chooses to blend or blur into cloudy ambiguity. Spianti’s paintings remind me of dream images that are familiar, but hard to place, an image that lingers after you wake, knowing for certain that particular people were present, though their faces are unclear. Spianti’s work is largely influenced by his immersion in aesthetic philosophy, a field of study in which he holds a Master’s. Spianti lives and works between Brussels and Paris as a painter and filmmaker. (via two headed snake)
Lorna Barnshaw likes to experiment with digital renderings of human faces. In her series of 3D art prints Replicants, Barnshaw used a different computer, software, application, and printing method with minimal interference with each computer’s rendering. The results are geometric, cubed, and warped mask-like representations of the human face. Complementary to this work, Barnshaw’s gif series Reality Reduction, depicts human figure images reduced to their basic geometry using a digital filter. Together these series engage us with their reflections on technological influences in contemporary culture.
Los Carpinteros is an art collective founded in 1991 in Havana, Cuba. They create small and large scale installations that reflect perversions of common, everyday objects. These objects are bent, twisted, de- and re-formed, creating abstract work with recontextualized boundaries. The artists deconstruct these simple forms in order to complicate our experience of them. Stable forms become chaotic, erratic, and fragmented through Los Carpinteros’ manipulation of them, ultimately representing a subversion of structure that transcends the domestic or personal.
Jaw-dropping installations made from cardboard and tape, colorful and geometric paintings on discarded wood or subway car interiors, highly-patterned murals on the streets — Clemens Behr creates a little bit of everything. Or, rather, the Berlin-based artist makes A LOT of everything, much to the delight of his followers. Full disclosure: Yes, I am one such enthusiast.