In artist Diana Scherer’s series Nurture Studies, she used soil, seeds, and photography to produce her work. Letting flowers grow in vases rather than the ground, she matured the plants and later broke the glass, exposing the dense roots that took the shape of their containers. They were then photographed at the peak of their lives; Flowers had bloomed, plants grew tall, and nearly all the flora was green.
Scherer’s work is visually very tight. The dirt is packed against the roots, and even out of their containers, the plants hold their shape. Although the plants look highly controlled, there is very little that Scherer can actually manipulate. Aint-Bad Magazine wrote about this Scherer’s photographs, highlighting this fact. They state:
There is an inherent contradiction in Scherer’s working method. Although she is dedicated to the project and keeps a close eye on whether the roots are developing as desired—checking them carefully and with the utmost precision—her ability to manipulate the plants’ growth is limited. She has to accept the impossibility of total control. This contrast between almost obsessive monitoring and an inability to fundamentally influence events becomes an intense, almost ritual presence in her work. Scherer’s photos are carefully rationed, showing a single moment as the culmination of a long process of growth.
Scherer’s presentation of the plants is very straightforward. There is no extreme lighting and the background is devoid of anything but a color. With the a series with the word “studies” in the title, I see Scherer’s work as specimens, the result of an exercise in timing, and, for lack of a better word, nurture. (Via Aint-Bad magazine)
In a series titled Light Rorschach, photographer Nicolas Rivals paints with light in dark spaces. Using a torch light and a camera with a long exposure, the artist draws and contours an arresting image. When I look at these photographs, I instantly see a face. But, Rorschach can refer to a couple of things. There is the Rorschach inkblot test, which is a psychological test. Additionally, a character, the anti-hero in the graphic novel Watchman has the same name. Knowing this and studying Rival’s work, his interpretation seems to be a combination of the two influences.
According to his website, Rival wants us to question the reality of the photographs. Could these things possibly exist? And, if they do, what are they? Rival insinuates that the beings in in Light Rorschach exist, referring to subjects as masks, meaning that they have some sort of identity. And, they observing us as we look at them. He writes:
…turns observer and observed through the eyes of spirited but ultimately see some of your own personality and therefore yourself. Cross between the work and the viewer as an introspection looks these masks seem to shout.
“Tell me what you see and I’ll tell you who you are.”
If the eyes are the window to the soul, then the soul of these light masks are serious and demand your attention. The lines of the painted light frame the neon blue, red, and green discs.They definitely aren’t human, and seem like they belong in a sci-fi story.
Left: Midwife/High School Science Teacher, 2008. Right: midwife/business consultant, 2012
A bartender’s fridge in 2008 (left) and 2012 (right).
Left: The fridge of a carpenter and photographer in 2008. Right: The fridge, with the photographer now a homemaker, in 2012.
Photographer Mark Menjivar wants to know what’s in your fridge. His series You Are What You Eat began in 2007 (it was previously featured on Beautiful/Decay here), and it captured the insides of 60 different people’s fridges. Menjivar thought of the series as a portrait project, with food defining someone’s identity. Several years later, he revisited some of the fridges. The new photographs depict how lives change over the years, as illustrated by food. For some, their habits have changed drastically, while others, more or less, are the same.
The ingredients in one’s fridge tell us a lot. Not only what kind of food they eat, but do they cook regularly, do they drink alcohol, do they like barbecue. And what about fresh produce? When the photographer met with a midwife and science teacher in 2008, they had started a commitment to eating only local produce. In 2012, with ready-made fruit packs in sight, we can see that commitment didn’t exactly last. The fridge that was chock-full of takeout containers in 2008 was owned by a bartender. Still a bartender in 2012, he has, according to Menjivar, started eating healthier and lost weight.
You Are What You Eat was originally shot for an exhibition at the Houston Center for Photography. Since the release of the series, the exhibition has travelled to 15 cities. In each city, Menjivar collaborates with communities to create a conversation about food issues in their area. The series will eventually become a book. (via Slate)
The surreal photographs by Christopher McKenney are haunting, as a (mostly) faceless figure interacts with a deserted environment. The desaturated images are shot in the middle of the woods, a corn field, a lake, and back country roads. Sometimes, we see a ghost. Other times, a man is lit on fire. Whatever the situation, McKenney crafts a quietly desperate image.
The photographer recently told art blog iGNANT that he one day found himself in the woods with nothing but a sheet, chair, and frame. He placed the sheet over his head and photoshopped his body out. He tells iGnant, I like taking away identity when photographing and to leave people thinking. “I only make the photos I do to express myself and what other people see or think is up to them, as long as I make them feel anything I’m ok with that.”
Personally, I experience cognitive dissonance when looking at McKenney’s work. I find a lot of these images disturbing yet beautifully composed.. For instance, the photo Fragile Perspective (above) features someone with a burning box over their head. Formally, the colors are rich and the orange of the fire is stunning against the blues, browns, and grays. But, then I study the content of the photograph and realize that it depicts someone who is essentially set on fire.
Not all of McKenney’s photographs are like that. Other times, they are simply whimsical and nonsensical. In Let Go, a suitcase with a balloon tied to the handle stays on the ground as its owner floats away. Another photograph has a chair in an empty field with a pair of hands (only hands, no body), infinitely holding a mirror. It’s these photographs I enjoy more – ones that are odd, but don’t communicate utter despair. (Via iGNANT)
Photographer Michael Galinsky’s series Malls Across America captures what we simultaneously love and hate about the mall. Stale air, artificial light, and swarms of teenagers are all captured in photographs from 1989. It was in the 1980’s and 1990’s that these places were at the height of popularity and a bastion of consumerism; Galinsky’s photos now is like digging up a time capsule.
Malls Across America began in the winter of 1989 at the Smith Haven Mall in Garden City Long Island. Galinsky travelled from North Carolina to South Dakota, Washington State and beyond photographing malls. We can look at this series as a source of amusement and anthropological study. There are ostentatious 80’s fashions (a lot of big hair) and the beginnings of 90’s grunge.
In many of these photographs, we are the voyeur. I get the feeling that Galinsky took these photographs on the sly, trying to be inconspicuous about it. He captures images through plants, behind people on escalators, and standing outside stores as women are conferring about clothing choices. Because Galinsky makes us both the voyeur and the viewer, I can’t help but feel a little bad for spying. But, considering all the 80’s movies that included mall hijinks, it feels oddly fitting.
These malls still exist, they are just dead. My hometown mall still looks eerily familiar to what’s in these photographs. If this series makes you feel nostalgic for your own mall, you can buy a book of Galinsky’s work. Aptly titled, Malls Across America, it was released this past summer. (Via It’s Nice That and Gizmodo)
Eddy De Azevedo used discarded lighters he had found and assembled them to into reimagined Mark Rothko works. Using Rothko’s color field paintings as a guide, De Azevedo created a photographic series using hundreds of lighters. He carefully collected and arranged the objects, which vary in color, size, and luminosity. When grouped together, his photographs are pleasing to look at as a whole or for their individual details.
The lighters work well as an interpretation of Rothko’s paintings. The original color fields are not flat colors, but vary in intensity, hue, and brush stroke. Much like these paintings, De Azevedo breaks up large areas of colors by staggering lighters and placing opaque and translucent ones next to each other.
De Azevedo is interested in the impact of a simple image. It’s why he is inspired by painters who work with large color fields. To him, these pieces have cross-cultural appeal. We all have a relationship to color, albeit all a different one. De Azevedo further enhances these paintings by adding objects. The lighters, paired with color, can be rich with meaning. In this way, he is creating an image that is more complex just beyond recreating Rothko’s works.
These images are just one part in De Azevedo’s series titled Walking My Dog. As the artist would go on long walks with his pet, he noticed all of the debris present along the ocean shore. He began collecting all of the scraps, which included more than 600 lighters, 1000 bottle caps, 200 fisherman gloves, and 2000 plastic bottles. De Azevedo has recycled this discard into appealing and colorful works of art. But, the staggering amount of material he has to work with is a good reminder of how much waste we actually produce, and our responsibility to take better care of the environment. (Via Feature Shoot)
Scott Dalton, an award-winning photographer and filmmaker based in Houston, Texas documents the pilgrimage devoted to Mexican faith healer, Niño Fidencio, in Espinazo, Mexico.
Through the years in Mexican cultural history, Curanderos (Faith Healers) have served an important role in peoples’ medical and spiritual lives. In fact, many of these healers become celebrities, as their miraculous healing creates huge followings. In the early 20th century, El Niño Fidencio became one of the country’s most celebrated healers; today he is regarded as a folk saint by thousands of his devotees, or, as they call them, fidencistas.
In 2009, Dalton traveled to Espinazo to document the festivities devoted to El Niño Fidencio.
“What interested me in the project was just the idea of faith, and how it takes a variety of forms in peoples’ lives. This project just looks at one part of that, but I think it serves a reminder of how important faith is for so many people throughout the world, and how we all come to terms with our own belief system within the context of our own society and environment.”
Fidencistas believe that modern-day curanderos can channel the spirit of Fidencio; these photographs show many of the rituals provided by these modern day healers. To us this looks unusual, cinematic and surreal, but to them these ritualistic activities only mean their salvation. Dalton said he witnessed transformations, in which the eyes of curanderos would roll back and they’d assume a high-pitched voice- taking Fidencio’s spirit in order to heal. (via Slate)
Photographer Laura Plageman carefully distorts her photographs in a way that is so subtle that it makes you do a double take. Using photographs that she has shot, she folds, tears, and crumples idyllic-looking landscapes. This is done in such a way that at first glance, these Plageman’s slight alterations make perfect sense. You wouldn’t necessarily question the melting tree line until you begin to study the photographs. Once you do, you can see that the mood of these images has changed. And, that’s exactly what Plageman wants. From her artist statement:
Her images explore the relationships between the process of image making, photographic truth and distortion, and the representation of landscape. She is interested in making pictures that examine the natural world as a scene of mystery, beauty, and constant change transformed by both human presence and by its own design.
Plageman titles of all her pieces as “Response to…” I see the the way she manipulates her photographs as a way of responding to the environment that she’s captured. These aren’t negative interpretations or an ill-will towards these landscapes. Instead, they add another layer of story-telling to what already exists. The creased paper adds depth, and tearing adds a new horizon line. What exists beyond what we now can’t see. Rather than showing us a landscape we’ve seen many times before, Plageman creates a totally new narrative by just a few considered folds.