What are you going to do when you’re retired? Will you tinker in your garage, enjoy making crafts, or go on giant sight-seeing trips? Photographer Harry Griffin paints portraits of old age in his series titled Gold Coast. Dentures, wrinkled hands, and an easy chair, and more showcase a quiet-yet-luxurious existence in a sunny place like South Florida.
The vividly-colored images are cropped compositions that are bizarre in the framing. Although we know that we’re looking at retirement, it’s hard to glean a lot of information about what we’re seeing. So, a guy taking out his dentures wrapped in green plastic is equal parts amusing and confusing. It doesn’t seem that different than the act of getting old itself – moving towards a life of easy living while at the same time finding yourself doing ridiculous-looking things to keep up comfortable and entertained. (Via La Monda)
Do you know what kind of trash you accumulate over the course of a single week? For California-based photographer Gregg Segal, this question comes with a loaded context: there’s the irrefutable issue of Americans producing more trash than nearly any other country, as well as the large-scale ramifications producing so much waste has on the environment. In his new ongoing series, ‘7 Days of Garbage,’ Segal recruited friends, neighbors, and other acquaintances to compile a week’s worth of their personal garbage and allow him to photograph them lying in it. The photos are provocative, with Segal crafting beaches, bodies of water, and other natural settings to place emphasis on the garbage his participants were willing to bring to him. “Of course, there were some people who edited their stuff. I said, ‘Is this really it?’ I think they didn’t want to include really foul stuff so it was just packaging stuff without the foul garbage. Other people didn’t edit and there were some nasty things that made for a stronger image.”
Segal aimed to include people from different socioeconomic backgrounds, providing for a fascinating display of different kinds of trash. By shooting from an overhead angle, garbage strewn between created natural environments, Segal crafts startlingly personal portraits that are oddly still detached, conveying a more poignant message lying underneath. “Obviously, the series is guiding people toward a confrontation with the excess that’s part of their lives. I’m hoping they recognize a lot of the garbage they produce is unnecessary,” he said. “It’s not necessarily their fault. We’re just cogs in a machine and you’re not culpable really but at the same time you are because you’re not doing anything, you’re not making any effort. There are some little steps you can take to lessen the amount of waste you produce.” (via Slate)
Using recycled objects like board game pieces, party straws, and paper fans, Swiss artist Marie Rime created a fantastic set of masks and armor. The separate-yet-similar series are composed of multi-faceted objects that cover the subjects’ entire face and part of their body, forming silhouettes made from the likes of chess pawns and popsicle sticks. It recontextualizes kitsch and transforms the use of these tiny individual elements into a cohesive veil that obscures its model’s face. In both bodies of work, the emphasis is on power and competition. Rime explains her mask project and writes:
In this series, the notion of game is being questioned. I tried to express my fascination with the relationship between the players. I asked myself what the participants are looking for and whether they are trying to disturb, seduce or intimidate opponents. These reflections led to a series of pictures of a female model wearing masks inspired by primitive tribal art, yet created from elements of the games being played in the championships.
Likewise, with the armor, she states, “These costumes, realised with everyday objects, are the starting point of a reflexion of the relationship between power, war and ornament. These women lose their identity and become the support of their clothing.” (Via La Monda)
Shocking photographs of acid attack victims shine light on Bangladesh’s cruel reality of frequent mutilation acts. The project called “Survivors” was made by an award-winning photographer Ken Hermann and video journalist Tai Klan. The duo visited Dhaka, capital of Bangladesh, aspiring to document the heartbreaking stories of people disfigured by acid attacks.
Rejection to have an affair, refusing to get married, land or marital disputes are the most common reasons for attacks often performed by close relatives, neighbors or a spouse. Majority of such violence acts are directed against young women and children who then are scarred for the rest of their lives. Medical treatments and surgeries are a mere utopia.
But there is an unbelievably inspiring side even to this tragedy: people captured in Hermann’s photographs refuse to see themselves as victims. Their portraits radiate extreme resilience and profoundness. According to the photographer, his goal was to portray these people by emphasizing their beauty and strength rather than displaying them as freaks.
“I have nothing to hide. I look at myself and love myself for who I have become in spite of what I have suffered”,—says Umma Aysha Siddike Nila, who was 15 years old when her husband burnt all of her face and parts of her upper arms with acid.
Many people whose lives were affected by acid attacks have devoted themselves to fight against the rooted custom. Thanks to people like Nila and bigger organizations such as Acid Survivor Foundation, there has been an 85% decline in recorded acid attack cases.
Since the first photograph, photography has ushered forth in producing a consequential depiction of truths through the containment of fleeting moments in a tangible and archival format. Instances in time are revealed as light falls upon sensitized paper, asserting the presence of each photograph’s content. The picture plane remains uniform, constricted by its own variable, physical dimensions: a synthetic simulacrum of a three-dimensional reality that will forever remain in constant flux. And yet, in spite of presenting elements of proof based within reality, the upheaval of the actual authenticity of the photograph has found itself under siege.
Through a variety of executions, the following artists working with the photographic medium twist this truism in unique and awe-inspiring ways, abolishing preconceived notions of photography through a re-presentation of the photograph. In their reconsideration of the ordinarily static picture plane, form is pushed beyond the confines of the image through the destruction, manipulation or interference of the photograph.
Art director, designer, and photographer Francois Prost captures the exteriors of french night clubs in his series After Party. There’s a twist to these straightforward compositions, and it’s that they are all pictures taken the in the daylight, where the glitz is non-existent. It’s safe to say that they are significantly less impressive places in the afternoon. Instead of of neon lights and gaggles of beautiful people, they are abandoned-looking, desolate buildings that show their age.
We see a lot of faux features at these clubs, like fake palm trees, sphinxes, and even an Acropolis. It’s all meant to create a fantasy and make the guests feel like they’ve been transported from their normal lives and into some glamorous one. Of course, without the aid of the dark and flashing lights, the buildings are dilapidated and out of place. If you’re a club goer, it’s probably best to avoid them during work hours to preserve their intended effect. (Via It’s Nice That)
“Entoptic Phenomena” is an ongoing photo series by Texas-based multi-media artist William Hundley. The project features people jumping under colorful pieces of fabric and creating mysterious floating sculptures. The final photographs are then edited to remove the subject and leave the viewer with nothing but the ephemeral cloud-like figure hanging in the air.
“My work started with the influence of Erwin Wurm and Maurizio Cattelan, these absurdists. I love the practical-joke nature of it; if I can make humor and beautiful aesthetics come together, that’s the biggest powerhouse I can imagine.”
The name of the project comes from the term entoptic phenomena, meaning “visual effects whose source is within the eye itself”. In simpler words, it’s those dots and wrinkles that sometimes appear in our sight due to bright light or pressure applied to closed eyes. Entoptic images have a physical basis and are not considered to be illusions. However, they share one common feature: the observer can’t share a specific view of such phenomena with the others.
By merging real and unreal – the scientific explanation of entoptic phenomena and his own visual representation of it – Hundley introduces disguised absurdity to his project and proves our knowledge of the world is only a matter of perspective.
Pieter Hugo’s “Kin” is the photographer’s closer look into his motherland and a personal approach to the incredible human diversity surrounding him. Hugo’s photo series from South Africa depicts the issues of race, social status, economical despair, sexuality and his own place in such “fractured, schizophrenic, wounded, and problematic place”.
Despite being complicated in content, Hugo’s photographs carry a distinctly serene, calming style and the sense of connection between the photographer, camera and the subject. Regardless of who’s in frame, an unknown homeless drifter, domestic servant, or his pregnant wife, Hugo captures their essence and tension in a simple static shot.
“[Kin] is an engagement with the failure of the South African colonial experiment and my sense of being ‘colonial driftwood. [South Africa] is a very violent society and the scars of colonialism and apartheid still run very deep. Issues of race and cultural custodianship permeate every aspect of society, and the legacy of forced racial segregation casts a long shadow.”
Based on his photographic approach, Pieter Hugo raises questions to himself and searches for answers through his work. How should one live in this diverse society? Should one accept the historical aftermath for granted or try to change it? How to raise a family in these circumstances?