Brooklyn based artist David Samuel Stern takes still photographs, and fuses them together so that they appear to be in motion. He begins by taking two portraits of the same person, and then carefully and meticulously cuts them apart before physically weaving them back into one another. This not only creates amazing texture and an interesting checkered pattern, but combines physical features until the composition.
become a hybrid of two faces. With a light and airy palette, these breathtaking photographic prints become ghosts of themselves, two versions or the same person. Two different emotions are often present, creating an interesting dichotomy of the internal character. We are seeing two sides of the subjects, as the weaving alters and skews our perspective. Stern’s highly original technique abstracts the portraits so that they seem to be caught in mid motion. Both original images become blurred after they are combines by weaving. The once crisp photographic prints are transformed by their alteration, creating a painterly atmosphere. David Samuel Stern’s method is simple yet powerful, exposing two sides of each of his subjects. However, the abstraction present in his work also hides elements and details of the portraits as well.
You can see David Samuel Stern’s mesmerizing, photographic work on view at the BAM Harvey Theater in New York City from September 16 through December 20th.
The work of Italian artist Alessandro Rabatti humorously comments on the current economic state that the world is in. Using different currencies from around the world, Rabatti rearranges and alters the faces of each political icon and transforms them into a comic book hero. By rearranging and breaking down household faces such as Abraham Lincoln and Queen Elizabeth II, the artist deconstructs their economic status. Each important leader’s status has been elevated from historical legend to fictional superhero, as if their alter egos are really Spiderman, Ironman, and Catwoman. The interesting part about this transformation is that some of these heroes and villains are more recognizable to people than the historical figures themselves.
This series, titled Facebank, comically comments on our economic state and the actual worth of money today. We trust in these icons just as children trust Captain America and the other courageous characters. In creating this series, Rabatti aims to spark a dialogue concerning the current, unstable state of world economics. Another interesting element in the artist’s work is that each face is now wearing a mask. The mask is often associated with hiding one’s identity or giving a false appearance; pretending to be something you are not. This is no doubt another layer in Rabatti’s series, commenting on political figures and their place in society. The artist’s funny and clever artwork combines comic book superheroes, economics, and political satire to create this multifaceted series. (via Design Boom)
The dark, mysterious painting and drawings of artist Constantine Lianos are full of psychological paradoxes and allegories. This Greece-based artist creates windows into a strange world where troubled beings and mythological creatures exist. Devoid of color, Lianos sets an unnerving mood appropriately complimenting his equally disturbing individuals that appear to be in a never-ending struggle. Each figurative narrative he illustrates portrays fable-like characters that are in a personal crossroad or inner struggle, contemplating their own fate. The artist himself draws inspiration from his own personal reflections. The internal struggle that is represented in Lianos’s work is something relatable to everyone. What makes this so captivating is the bizarre and surreal situations that we find depicting this turmoil. You can see conflicting emotions in the faces of each character. Doubt, fear, indecision, and even anger can be found in his peculiar circumstances.
A talented figure painter, Lianos is not interested in rendering reality, but instead a more abstract idea with less restraints. The artist’s work pulls influence from a large range of sources such as street art, comics, and imagery from classic art movements. Interested in paradoxes, he believes art is a place where illusion and reality meet, where a new construction of the world can begin to form. The artist explains this in relations to his process. (via Hi-Fructose)
“The painting process is for me the ultimate introspection process, where the rational and the emotional are inseparable, where the method meets the random.”
At first glance, this series by photographer Stacey Tyrell seems to portray nothing out of the ordinary, just portraits of white women living their lives. At closer inspection, however, you realize all of the women look the same; they share uncanny similarities with just a few differences in hair, eye, and skin color. In reality, Stacey Tyrell has staged these scenes representing depictions of Caucasian women using herself as a model. Interestingly enough, the artist herself is black. The title of Tyrell’s deeply memorable series is BackraBluid. Backra, originating from West Africa, means white master or person. Bluid is a Scotch word for the blood of men or kin. These two words combined represent two different points of origin in the artist’s family heritage. Tyrell explores her ancestry in this series, which includes English, Scottish, and Irish.
Most everyone in post-colonial societies, especially in the Western world, is the descendant of a diverse range of ancestry, producing many individuals with what may appear to be ambiguous ethnicities. These individuals may identify with one, multiple, or even none of their racial or cultural identities. However, by nature, humans want to make sense of their surrounding and tend to place others in categories. Stacey Tyrell has experienced this first hand. She explains the significance of this experience in relation to Backra Bluid.
Upon viewing my physical features I am automatically assigned a racial identity by whoever is looking at me. Skin color often obscures and over-rides the features and markers of other races that may be present in my genetic make-up. By simply changing my skin color and making subtle tweaks to my features I wish to show that if someone were to take a closer look at my face they would see that it might not be that much different from their own.
Adventure photographer David Heath delicately captures the enchanting land of Burma, showing its shockingly stunning, exotic beauty. Over the course of five years and after taking eight individual trips to this mysterious place, Heath has completed a masterpiece of a collection of photographs radiating with natural beauty, and dripping with color. This incredible series, now available in print as a coffee table book, is a tribute and celebration to the lush culture and land that is Burma.
“From the moment I first set foot in this magical land, I fell under its spell. I found it to be one of the most enthralling and visually captivating countries I have had the privilege to explore – truly a photographer’s paradise,” explains Heath, “I aspired to convey the soul of the beautiful Burmese people, their mystical culture and mysterious customs, in the most artistic way possible”.
Burma, a place not many people can say they have traveled to, has become a place of comfort for Heath, as you can see in his photographs. He captures subjects with such love and allows such a strong authenticity to remain within them. Heath uses no flash, only natural lighting in order to show the true, authentic nature of this amazing culture. Traveling through Burma by boat, canoe, train and foot, Heath shows us remote and rare perspective of this captivating land. Each image is a remarkable adventure where we can see ancient temples, colorful and traditional Burmese clothing, busy street markets, tribal face tattoos, and the sparkling, eager eyes of the children of Burma. We are able to experience a culture that seems a world away through the intimacy of David Heath’s travels.
Swiss-Italian photographer Christian Tagliavini’s contemporary antique photos blend fine arts and craftsmanship seamlessly into “1503,” his captivating portrait series. 1503 is the birth year of Agnolo Bronzino, an Italian court painter for the Medici family of Florence, whose realistic paintings had an enormous influence on portraiture.
Though Tagliavini’s photos may appear to be historically based oil paintings, they are more than just a literal translation of antiquated art through new technology. The clothes and body positioning echo Bronzino and the light in these portraits is tender and perfect, but it’s the details of the photos that emphasize the modernity of the work-the stylized outfits, exaggerated necks, translucent skin and clear directness of the models’ gazes. Unlike the bold colors of the paintings, the photographs are printed in pale, unsaturated tones, which work to make them feel more contemporary.
“Christian Tagliavini loves designing stories with open endings (requiring observer’s complicity) on unexplored themes or unusual concepts, featuring uncommon people with their lives and their thoughts made visible. This rich and exciting collision of circumstances results in photos as a final product.”
Tagliavini is impressively skilled-not only is he the photographer, he is also the costume designer, set builder, and casting director. He says, “I’m fascinated by the fact that I don’t simply release the shutter, but that the real fun for me is before I take the pictures. I say that I’m not really a photographer, but a workman of photography.”
These bizarre photographs by British artist James Ostrer feature himself and others covered in thick, sticky-looking layers of candy, frosting, and other junk food. Decadent edibles look hardened and become a strange replacement for conventional masks and armor.
Candy and sweets are often associated with joy, but looking at Ostrer’s work its hard to feel that way. They aren’t delightful, but are visceral. Frosting is slathered on haphazardly with licorice used to create outlines. Sometimes, the lines are droopy and it appears that the entire piece is melting. The result is a peculiar and unsettling group of photographs that speaks to the sickening amount of junk food we have available as well as a reinterpretation of the self portrait.
These photos are currently on display in his exhibition Wotsit All About at the Gazelli Art House in London through September 11th of this year.
In 2012, Paris-based photographer Floriane de Lassée was in Ethiopia when she came up with her “How Much Can You Carry?” series. While there, she took notice of the varieties of weight that people would carry above their shoulders. Since Ethiopia, de Lassée has traveled to 6 other countries – Rwanda, Nepal, India, Japan, Indonesia, Bolivia, and Brazil – documenting an even more diverse array of humanity and its essentials. de Lassée says, “‘How Much Can You Carry?'” is above all a tribute to the bearers of life; those whose life is heavy and where smiles and laughter become the key to a livable existence. This series can be read on two levels. The first refers to these modern caryatids; the second, more secret, talks about various weights we all carry, whether physical or psychological (the weight of tradition, education, family, etc).” (via junk culture)