Cecelia Webber‘s collage work features tessellated figures and limbs of the human body arranged to form images of plants and animals. Webber photographs nude models – including herself – in various poses before she digitally edits the images, cutting and coloring them to form particular parts of the new image. The final product features different bodies and body parts posed in the same positions. Many of the pieces take months to finish, but the longest image – the rose – took her a year to complete because of how tricky the angles were to capture and arrange. Webber creates an image with such a high resolution that they can be printed up to 6 feet tall, a size that would make the tessellated bodies even more pronounced and captivating.
“Each image takes many stages to create. I start by researching photos of the creature or plant I’m trying to create and then sketch poses I want to photograph in a notebook…I never warp my models or edit them to change them – it is important to me to portray real natural bodies. Once I have my photos I start laying out my piece and playing with colour and arrangements…Many drastic transformations take place during this stage, so it’s sort of magical, because so many different variations are possible. I feel many possibilities at once but the true form of my subject slowly emerges.” (via daily mail)
So you’ve endured months of deconstructing every sentence of each presidential candidate’s rhetoric. It’s only fitting that on the eve of Election Day we also visually deconstruct the president, both past and present. French artist Olivier Ratsi produced these presidential digital collages – glitch-like reconstructions of the presidential portrait. Each piece of the series Once Upon a Time the Presidents is made up of various facial features of past American presidents. For example while a portrait’s eyes may have been snatched from Harry Truman, his mouth may be Barack Obama’s and his hair Teddy Roosevelt’s (or is that that John F. Kennedy’s?) The clean shaven cheek, toothy smile, and neatly combed hair appear repeatedly and feel eerily ubiquitous. Ratsi forgoes overt political references in favor of a subtler idea. Each portrait doesn’t so much portray past presidents as it does the idea of the presidential image.
Swedish illustrator Niklas Lundberg AKA Diftype creates dense digital collages that transport you to another world where everyone and everything is constantly changing, morphing, and manipulating. His alternate digital worlds are so convincing that I wonder if even his business cards shape shift once they exchange hands. Guess I’ll have to go to Sweden to find out.
Yesterday I posted Brian Vu’s digital collages. Well if you were a fan of those then let me introduce you to Roxana Azar. Roxana mixes obscure images with basic photoshop repeating effects to create trippy worlds full of surrealism and mystery.
Brian J. Hettler’s work is anything but subtle. He fuses digital imagery with saturated color and virtual elements. Even though Hettler works in digital media, he maintains the belief that his work acts as a painting built upon the directive of formalism. His work functions in a place between religion and science, emotion and sterility. He is a recent graduate from Kansas City Art Institute.
Marco Nicotra is a graphic designer from Milan, Italy. Much of his style is collage influenced with many textures and layers. Nicotra has done work for Super 8 Magazine, Heineken Jammin’ Festival, and Nitepeople Magazine.
Ricardo Actus is an illustrator and graphic designer from Brazil. His work uses heavy textures and beautiful typography. Actus’ complex mixed media digital collages explore perspective with a fresh set of eyes.
Meet Ivan C. – a visual artist from Mexico. Although he works commercially, his work is conceptul, believing art should now be “Cosa Virtuale,”with technology not leading the ideas, but setting free all the visual possibilities for the interpretation of reality. Ivan releases his imagery through multiple mixed-media processes involving digital photography, digital collage and experimental graphic manipulations.