Januz Miralles Digitally Manipulates And Transforms The Human Figure Into A New State Of Being

Januz Miralles - Digital Illustration and PhotographyJanuz Miralles - Digital Illustration and PhotographyJanuz Miralles - Digital Illustration and PhotographyJanuz Miralles - Digital Illustration and Photography

Like melting wax drips and forms new shapes, so does Januz Miralles’ digital manipulations mold his once recognizable subject. The artist digitally applies paint and illustration to change photographs of faces and bodies into otherworldly beings. The figures in his work are left partially untouched, some with only a mouth or an eye peaking through, while the rest is covered by stunning, organic strokes of paint traveling up and across the composition. Although the women in his work look conventionally beautiful, they look even more alluring with globs of thick, digitally applied paint covering most of their faces. Miralles’ highly textural technique alters each figure’s state of being, as if they are ascending to another world or perhaps disintegrating completely.

His captivating, multilayered work shapes form, personality, and identity with his amazing techniques, created mostly digitally on a laptop. His art is quietly beautiful, as you can get lost in the many swirls of color and texture that he integrates into his work, completely transforming the mood. As the artist digitally breaks down his figures, the structure and details seem to break down as well, as if chemicals have been poured over each face. There is a sense of torment and melancholy that surrounds his subjects, like something is being extracted from them, leaving their bodies through the seeping paint. The deep, psychological effect that Miralles’ work holds draws you in to further examine what it is you are looking at, leaving you in mystery.

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Celine Artigau Sees Neon Ghosts Everywhere She Looks

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French artist Celine Artigau is never really alone. In her series of manipulated photographs, “Goodbye Childhood”, she inserts spectral neon figures into photos of places with personal resonance. She says:

“These luminous characters are the souls of these places and ghosts of my childhood. They are like some lonely and abandoned imaginary friends that still follow me and haunt my life.”

Sometimes sweet, sometimes sad, the figures are simple outlines rendered with a neon glow. Their simplicity is what makes them work. Photoshopping “ghosts” into images—copying and pasting figures from one photo to another and lowering the opacity—has been done and done. With Artigau’s lost souls, the artifice is intentional; these wandering ghosts are meant to look illustrative and not realistic.

“Concerning the process, I use Illustrator to create my character and then Photoshop to integrate it into my picture. For my light effects, I use a mixture of layers and blur effects but the precise process is always different from one project to the next.” (Source)

In this series, Artigau has resurrected her childhood imaginary friends, allowing them to live in the in-between places and shine their light.

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Artist’s Digitally Enhanced Photographs Look Like Expressionist Paintings

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Japanese art photographer FUKE P-San transforms his photographs into emotional experiences by applying expressive color palettes. In FUKE’s photographs, color and light becomes the subject of the work, as opposed to an objective characteristic. FUKE photographs the world around him, then uses digital color and light effects to give the photograph a painterly aesthetic, one that mirrors the beauty he sees and feels when experiencing the scenery he encounters. He says, “There is so much beauty in our everyday life that goes unseen simple because we develop a different sense of how we value beauty often influenced by our every day life routine.”
FUKE’s color palette and composition evokes the work of artists like Edvard Munch, Egon Schiele, Vincent van Gogh, and Claude Monet, and registers an emotionality not frequently seen in photographic work; this is largely due to his work’s painterly qualities. He hopes his images enhance viewers’ perceptions of the world, and influences the way they perceive beauty.
“Open new windows in your mind and heart, notice and catch the beauty of ordinary small things, watch them well and find a way to make this beauty even bigger. Find the mystery in everything; feel it and this will open your heart to new worlds that you previously thought they never existed. Art can give us Happiness, and help us communicate with ourselves and others to a higher level.” (via cross connect and life treasure collector)

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Andreas Franke’s Haunting And Surreal Series Imagines Underwater Shipwrecks Full of Life

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Austrian photographer and diver Andreas Franke has created a hauntingly beautiful series of images called “The Sinking World” in which he layers studio photographs over underwater ship wrecks. In 2009, the USS Vandenberg was lowered into the ocean off the coast of Florida to serve as an artificial reef. When Franke encountered the ship while diving, he was inspired by the vessel’s haunting emptiness. For the Vandenberg project, Franke superimposes photographs of recognizable, everyday scenes; the studio figures appear ghostly, as if they are re-enacting scenes that previously took place in a lively atmosphere. The empty ship becomes a site that reveals snapshots of a lost, surreal world, discovering the humanity that lurks among the ships hallways, passages, and decks. Franke creates an unexpected dream world where a viewer is pulled into a strange, new, and fantastical place.

This sunken ship not only provides the setting for Franke’s superimpositions, but also serves as a gallery where divers can swim up to Franke’s work, viewing his photographs in the very place that inspired his images. From the project’s website,

“The pictures engender extreme polarities: the soft, secretive underwater emptiness of sleeping shipwrecks is paired with real, authentic sceneries full of liveliness and vigor, thus creating a new world, equally bizarre and irresistibly entangling…

 

These spectacular underwater galleries make divers fall under their spell and display the work of the ocean itself. During the weeks and months under water the ocean bequeaths impressive, peerless traces to the pictures. It adorns them with a certain, peculiar patina, endowing them with the countenance of bizarre evanescence and transfiguring them into rare beauties.”

Franke has also created two other series of shipwreck images using period piece studio photography, as opposed to the everyday activities of the Vandenberg project. For the SS Stavronikita shipwreck, Franke superimposes photographs of people dressed in clothing and participating in activities evocative of Rococo. For the USS Mohawk, a WWII shipwreck, Franke imagines what life on the ship might look like, and creates a series of images in which the sailors have returned to haunt the ship. (via slow art day)

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Victoria Siemer Transforms The Human Experience Into Computerized Error Messages

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Brooklyn-based graphic designer Victoria Siemer, also known as Witchoria, has an ongoing photography series updated weekly called ‘Human Error” in which the artist digitally overlays an existential or lovelorn computerized error message over a scanned Polaroid. The error message prompts the viewer for an action or to wait, illustrating the futility of this technological exercise when perceived in the context of heartbreak or ennui. Siemer’s series elegantly pairs new technology, represented by the computerized message, with older technology, represented by the vintage mode of a Polaroid photograph, combining the nostalgia evoked by a Polaroid with the technological angst that fuels many of our modern relationships.

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Chino Otsuka Time Travels By Splicing Herself Into Her Childhood Photographs

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London-based Japanese photographer Chino Otsuka has created a series of time-traveling photo manipulations that allow her past and present selves to exist in the same time and place. Titled “Imagine Finding Me,” the series is a result of Ostuka digitally splicing her image into old photographs from her childhood during the 70s and 80s, creating seamless collaged manipulations. These photographs represent a doubled identity for Otsuka, reflecting both her Japanese roots and the heavy influence of Western culture. They also raise questions about how we remember our pasts and how these stories intersect with our modern lives. Otsuka explains, “The digital process becomes a tool, almost like a time machine, as I’m embarking on the journey to where I once belonged and at the same time becoming a tourist in my own history.” (via my modern met)

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Photographs Of Super Heroes As Saints

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SPIRITUAL HERO

Perhaps the digital artwork of Antonio Strafella isn’t so profane as it may at first seem.  His series Spiritual Hero at once compares and juxtaposes saints and superheroes, the holy and the vulgar.  Comic books are often thought of as the exclusive domain of young people, rarely taken serious.  However, in a strange way the superheroes don’t seem exceptionally out of place in Strafella’s work.  Indeed, many of the grand story lines of the characters featured by Strafella have clear Biblical references.  He goes on to say:

“These icons have various aspects in common: saints do miracles and superheroes have superpowers, both are venerated, opening the conflict between faith and zealotry.”

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Suellen Parker Digitally Remasters Clay Sculptures With Fragments Of Photography

 

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Suellen Parker builds each character from unforgettable moments of strangers or friends. First, she starts with sculpting the shape from plastiline clay before photographing it with a blank backdrop. Then, simultaneously, she scavengers for props, walls, or environments that might suit a certain character well and shoots those too. All of these images are finally loaded into a computer, where the art of merging and manipulation occurs. Skin tones are “digitally painted” and human faces technologically blend with clay while backgrounds stitch together to create a new imaginative world.

Of Letting Go, her most recent series collected here, Parker strives to twist not only mediums, but also gender roles. She suggests her characters concretely and conceptually have a fine blend of both, and states, they “are attempting to find a sacred space, a place of vulnerability, a place where they allow themselves to be really seen. By quieting one’s life, even momentarily, an opportunity is presented to learn truths about oneself. By engaging in private play, one is able to let go of expectations and rules. The result is a private and truthful moment that may be enjoyed without fear of judgment or consequence.”

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