“Scribbled Line People” is a digital collaboration between New York-based illustrator Ayaka Ito and programmer Randy Church. Part of a “3D Motion and Particle” course, the two decided to embark on this project after discussing how to create an interface that could incorporate 3D scribbled lines into photography. Mutually inspired by Rachel Ducker’s wire sculptures and Erik Natzke’s Flash paintings, the duo uses both Flash and Photoshop to reconfigure photographic subjects into shredded images that are gracefully incorporated into their background compositions. Ito says, “Our objective in approaching the visual, was to create a series of answers to show how scribbled lines could develop normal portraits into abstract art.” (via the creator’s project)
Normally, fairytale princess characters are the epitome of chastity and innocence. With her series on folk stories, the Spain-based illustrator Marilen Adrover turns the concept of feminine modesty and purity on its head, presenting the gruesome mugshots of legendary heroines. Far from her days of resting piteously in a glass coffin, Snow White, an icon of the selfless domesticity of any ideal wife or helpmate, is arrested for sexual misconduct. Little Red Riding Hood, blood smeared across her once naive rosy cheeks, is taken in on murder charges. Poor, young Goldilocks, no longer a helpless child in search of shelter, has lived a life of crime, and she is reprimanded for breaking and entering. Lewis Carroll’s sweet Alice has grown disillusioned with the real world, turning to her own dangerous wonderland of psychotropic drugs.
By placing these icons of feminine docility and martyrdom in the context of contemporary crime, Adrover cleverly subverts the traditional madonna-whore dichotomy that persists narratives about young women. Like an angst-ridden teen, each vixen stares at her captives teasingly, hoping to challenge their authority. They are no longer defined by their histories of idyllic pastoral innocence, but they certainly cannot be pegged solely as unruly miscreants. Both beloved and dangerous, they refuse to conform to a single fantasy, playing with our culture’s deeply ingrained prejudices and assumptions.
In another ambitious series, Adrover explores the painful pressures facing the bodies of women, presenting evocative portraits of eating disorders and plastic surgery. Her imagined manifestation of anorexia is a bloody red orb, shining outwards from the belly of a woman. In her vision of orthorexia, the orb is blue. Each image, evocative of watercolor painting, subtly explores the persistent emotional traumas and obsessions that burden the human spirit. Take a look. (via Lost at E Minor)
I first encountered Russian artist Svetlana Petrova’s renderings of classic paintings, modified to include her very large, fat cat, a couple of years ago. I was pleasantly surprised to find the artist is still re-creating paintings, and that her work has recently become a part of a gallery show in Abingdon, England.
Petrova’s mother died in 2008, leaving her cat, Zarathustra, behind. She claims her mother spoiled the cat, contributing to Zarathustra’s large stature. Petrova was very depressed after her mother’s death and wasn’t able to make art until a friend suggested she create an art project using the cat, and thus, Fat Cat Art was born.
Petrova says, “I’m a professional artist, and I was fond of Internet memes, and I thought maybe I can make an Internet meme who would at the same time [be] a work of art. And I did this.” But her confidence in her work was at first met with some hesitation. “I thought that I could hold an exhibition, but gallery owners said: ‘This is not art, this is just cats.’ I asked: ‘Why is a shark in the formaldehyde art, but and a cat in a classic painting is not art?’ Nobody could give me an answer, and these people began to avoid me saying that I am mad.” Eventually, though, her cat art won the hearts of the gallery in the UK.
Petrova has been most recently inserting her cat into movies, and she welcomes suggestions for fat cat placements via her Twitter, or the project’s website, whose disclaimer reads: “We are real. All the artworks at this site are real. Nobody’s opinion about Us, Our art or this site will ever disturb Our suprematism.” (via archie mcphee and huffington post)
Unfortunately, today’s media offers a limiting vision of female beauty, urging all women to have slender waists and full chests. Bodies that deviate from this standard are tossed by the wayside by publishers and media giants, photoshopped into figures that conform to an often impossible ideal. But it wasn’t always like this; Baroque painters like Titian and Peter Paul Rubens idealized fuller figures, imagining their nudes with sensuous curves of the flesh.
Lauren Wade, a senior photo editor for Take Part, has seen firsthand the digital nipping and tucking that goes on behind the scenes in the publishing and entertainment industry. In response to the societal obsession with “perfect,” unrealistic female bodies, Wade has digitally altered Renaissance, Modernist, and Post-Impressionist masterpieces to mimic the ways in which fashion models and celebrities are edited today. By releasing a series of gifs showing the extreme lengths to which industry standards alter the human form, she hopes to bring awareness to the fact that what we see in the magazines is entirely unrealistic and to remind us that “beauty” comes in all shapes and sizes.
Here, the female subjects of Paul Gauguin and Edgar Degas, once considered to be idealized, get uncomfortably slim waists and oversized breasts. Raphael’s three graces, once representing the characteristics of female perfection— charm, beauty, and creativity— are also cruelly altered. The goddess of beauty herself, Botticelli’s Venus, doesn’t conform to 21st century societal standards, and she too is deeply changed. Even Titian’s Cupid gets a makeover. Wade’s work reminds us that definitions of “beauty” are in constant flux; as the centuries pass, we set one arbitrary ideal before another. In the end, aren’t all figures lovely and worthy of artistic representation? (via Design Boom)
In the surreal photographic worlds of father of three John Wilhelm, the imaginative play of childhood is a force to be reckoned with; motivated by childhood memories of video games and television, the university IT director spends his free time dreaming up fantasies for his three daughters, 6-month-old Yuna, 2-year-old Mila, and 5-year-old Lou.
Wilhelm’s impressive body of work, composed of images heavily-manipulated in Adobe Photoshop, is simultaneously touching, thrilling, and humorous. Most children have fantasized about the tale of Little Red Riding Hood, seduced by the adventure of it all and by the terror of the Big Bad Wolf, but this father’s retelling of the classic fairy story is a little bit different; here, the girl is just as wild and free as the wolf, for instead of being fooled into believing that the beast is a peaceable gentleman, she howls with him, tossing her head ecstatically.
The bravery of the small children is highlighted again in a poignant image in which Mila offers a tiny bunch of yellow flowers to a wizened, toweringly large buffalo, whose magnificent, uncouth hair stands in stark contrast with the girl’s miniature peacoat and knitted pom-pom hat. In these fantastical images, the smallest of humans can be the most powerful; the littlest of all, Yuna, is often shown as wreaking havoc on her befuddled parents, who wear space masks to feed her or change her diapers. Indeed, this mischievous bunch is subject to no one’s will but their own, and in this visual play land, they are granted everything they could ever wish for. (via Demilked and Bored Panda)
Digital artist and graphic designer Kode Logic (aka Boss Logic) is used to taking existing imagery and adapting, changing and repurposing it. With his newest series, Playing With History, the Melbourne, Australia artist samples some of the most recognizable photos in the history of the medium, and either subtly or blatantly alters them by including superheroes and villains.
Ranging from the construction workers who built New York’s skyscrapers palling around with Spiderman, or an alternate history where Mortal Kombat’s four-armed boss Goro menacingly watches over Ellis Island on the Statue of Liberty’s plinth, Kode Logic plays with both humor and irreverence (exemplified by two separate Kennedy edits – one with Marty McFly skitching on his hover-board, the other featuring The Watchmen’s The Comedian preparing to assassinate the president). Explaining the project (and a premise shared by many from the digital and web-based design and art communities), Kode Logic says, “…as a digital artist we are the new breed of artists and we are all trying to innovate our own style to be remembered and past on as a foundation you laid down…” (via albotas)
If you have ever adopted an animal, then Jaime Toh’s SPCA (Society for the Prevention of Cruelty to Animals) “Costume” campaign is sure to tug at your heart strings. Accompanied by the tagline, “Don’t put pedigree above personality,” the advertisements urge people to consider adopting animals in desperate need of a home rather being focused on finding a specific breed (that most likely comes from a breeder). In each image, we see a SPCA animal underneath the coat of a cat or dog with a higher pedigree. In a slightly morbid way, they wear their outsides as a suit, complete with zippers that behead their hosts.
Toh’s images feature smiling, happy dogs with cats do not look as entertained (I’m not surprised). Every animal looks more disheveled than its costume as he plays up the physical differences between shelter and a purebred/adopted pet. But, by visually shedding their outsides, it conveys the concept that when choosing a pet, personality outweighs looks. (Via InspireFirst)
Arie van’t Riet became an artist by accident. As a medical radiation physicist, van’t Riet experienced first-hand the technological developments in quality image x-rays. One day, a colleague asked him if he could x-ray one of his art paintings. van’t Riet had never done anything like that before, but found that it worked and became curious about what else he could x-ray. Starting with a bouquet of tulips, van’t Riet found that the image resembled a black and white negative. After digitizing the image and using Photoshop to color the image, people began to tell him that he was creating art, and the rest is history. van’t Riet refers to these stunning images as “bioramas.”
“Looking with X-ray eyes to nature. That’s what I like to experience with my X-ray camera. I prefer X-ray objects of ordinary scenes like a butterfly nearby a flower, a fish in the ocean, a mouse in the field,a heron along the riverside, a bird in a tree and so on. Each time it is challenging me to arrive at an X-ray photograph that represents the sentiment of the scene, do raise questions and excite curiosity.”