In 2000, Belgian multimedia artist Wim Delvoye composed a series of photographs which appear to capture text and note style messages etched on the side of mountain faces. Known for his quirky sculptural style, like his elaborately carved tires, Delvoye manipulated these photographs in order to juxtapose the mundanity of the displayed messages with the sublime, natural beauty of the world’s structures. With messages like “RUDE BUT CUTE 18 YEAR OLD BABE 018 83 87 480″ and “HONEY, DON’T FORGET TO TAKE OUT THE GARBAGE. NINA,” Delvoye cleverly elevates the status of these banal declarations to a monumental scale. In Delvoye’s images, absurdities are reinforced while the overall importance of the messages – because of their ubiquity – is not entirely dismissed. Delvoye’s aesthetic is one of recontextualization and deconstruction – even the structure of website is a testament to his implementation well-known imagery in order to create an accessible and familiar user experience. (via public delivery)
Judy Miller’s Imaginary Dioramas series is the kind of work that makes you think, “Wait, what?” The famous faces in the photos are recognizable, but off in some subtle way. The backgrounds are ambiguous, and the combinations of celebrities and scenes, “Outakes” as they’re titled, create curious narratives.
It’s almost a relief to find out that these artists and celebrities, whose faces we’re so familiar with, are actually wax figures photographed at Madame Tussaud’s and Photoshopped into scenes. The strangeness abates, but only briefly. It’s not only the waxy visages that are uncanny, but the situations as well. Most of the celebrities are not named or tagged, which presumes a certain amount of pop-culture familiarity in the viewer. Some photos only include a part of a face or body, making the identification even more difficult.
Robert E. Knight, Executive Director of the Tucson Museum of Art, writes, “Judy Miller does not create her work in the isolation of a studio. She researches, travels, photo¬graphs, and then brings her images back in-house for final editing. Culled from the photo files of celebrity wax figures the artist has compiled over the years, Miller cleverly inserts her figures into fantasy settings with the finished composites ranging from humorous to odd, and compelling to camp. … Resembling excerpted film stills, the discordant emotional separation of Miller’s figures are in¬triguing in their awkward uncertainty. They truly have become actors in her play, and they’re just waiting for their cue. Even titling her images as “outtakes” references the artist’s interest in, and respect for, the influence films have had on our society.
What, for example, are Einstein and Picasso doing dressed alike, deliberately avoiding eye contact in a round room with many windows in “Newton’s Nightmare”?? Seemingly less bizarre is “Outtake #22, Exit Left”, which shows Jacqueline Kennedy facing front in the foreground and Marilyn Monroe’s red sequined back in the background. It’s easier to find context for this work but no less thought provoking. What if the two women really did meet? Each image poses unanswerable questions, which is Miller’s intention.
My goal is to create a dynamic juxtaposition of elements that spark individual interpretation.
Double exposure portraits by Spanish-based artist Antonio Mora (a.k.a. Mylovt) blend human and nature worlds into surreal hybrid artworks. Mora works with images he’d found browsing through online databases, magazines and blogs, and then fuses them together using skillful photo manipulation techniques. His seamless way of mixing various concepts together leaves the viewer with mind-tricking illusions.
“I want people to feel inspired when observing my artworks, and that is what I long for. I often look at images hundreds of times without finding anything, and then the spark just arrives. It’s a bit like fishing, a matter of patience and intuition.”
Mora describes his artworks as cocktails, mixtures of ordinary elements merged into forceful and expressive daydreams. According to the artist, his inspiration is provided by the limitless Internet itself and he feels as a medium between the two parallel worlds: real-life and the Web.
Antonio Mora originally graduated from graphic design. Right after his studies, he started a personal design studio which turned him into an art director for 15 years. Gradually, artist decided to concentrate on his art solely. Mora is one of the artists whose instant fame relies on social media: “Social networks, especially Pinterest, have been an important vehicle to spread by artworks”.
His mind-bending photo manipulations are very accessible to the public, as Mora offers anyone the chance to have their own portrait turned into an astounding work of art. (via Writeca)
For his surreal photo manipulations, the Buenos Aires-based digital artist Martin De Pasquale contorts his own body to imbue the mundane rituals of daily life with a sense of humor that sometimes veers into the realm of terror. With the wonderfully oxymoronic title “Impossible Photography,” De Pasquale’s work stretches the medium to its limit, boldly questioning our assumption that the photographic object necessarily reflects reality. Though indeed impossible, the strange and comical mishaps— and horrors— of the work speak to very real existential anxieties.
Here, the human body emerges as mechanical, much like the the camera itself. Like the gears of an advanced automaton, heads and faces are replaced with ease, and the treat of mortality is abated with ever-renewed body parts. In some ways, the impossible photographs recall the paradox of the Ship of Theseus, a thought experiment which asks if a ship remains essentially the same after each of its parts are replaced. Here, the ship becomes a human being; in the daily grind of life, our protagonist is continually deconstructed and reassembled. Does he become generic, or does he hold fast to his identity?
In so questioning the individual, De Pasquale’s imaginative images challenge the notion of replication, which in turn examines the very nature of the photograph. Seen here many times over, the self is given over to a mysterious—and frightening— sort of duplication, giving rise to unnatural yet indistinguishable bodies that are ultimately mere simulacrums of the original. Take a look. (via Demilked)