Award winning photographer Blake Little completely transforms the classic nude figure into a sleek, sticky, sculptural entity in his series Preservation. Little, known for his skills as a portrait photographer, captures each of his subjects after he pours gallons of honey onto their nude bodies. With its use of honey, this seductive and sticky-sweet series has a unifying element that breaks down the differences in the subjects. Little’s models are extremely diverse with a wide range of body types. However, the honey breaks down the unique and personal details of the person and allows them to become a more universal, timeless figure. They all adopt an ageless beauty that one might see in classic, Greek sculpture.
It is no coincidence that Little has chosen the title Preservationfor a series that takes contemporary subjects and gives them a more classic and traditional look. By transforming a unique body into an archetypal figure, they can withstand the test of time. They are now one of the unforgettable figures in art history such as Venus of Willendorf. Not only does this amazingly transformative honey preserve the importance of the figure, but also it allows the figures to look as if they have been literally preserved as they are encased in honey, not unlike the citizens of Pompeii preserved in ash.
The dripping, glossy texture is palpable in this incredibly intimate and tangible series. Preservation were on view at the Kopeinkin Gallery in Los Angeles from March 7th to April 18th, where the photographer is represented. Blake Little’s book Preservation, containing sixty-eight photographs of his honey-filled nudes, is also available. Here is an excerpt from the Forward of Little’s book, written by Kenneth Lapatin, Associate Curator of Antiquities at the Getty Museum.
Since its invention in the 1800s, photography has been employed as a key tool of archaelogy, caputuring images of not only finds, but also the very processes of recovery. Its capacity to record the details of perishable objects – to preserve them – is evident in historical photographs of now degraded artifacts and of excavation sties, many substantially transformed by the very act of digging them and scarcely recognizable today. But today we are also well aware that photography can be far from objective; that it can be manipulated; that it can create something entirely new, original, and surprising.
Alexandra Levasseur’s complex paintings are filled with emotion and beauty. With heavy brushstrokes dripping with color, she creates scenes of tormented women in a strange world filled with golden halos, burning asteroids, and melting faces. These faces depict a deathly pale beauty that is often transformed and altered by thick globs of color or all encompassing flora. Levasseur explores themes of love and fear, anguish and unsatisfied desire in her body of work.
I am interested in depicting both the solitude and the bipolarity of the existence of the human being, through the representation of memories. I question the relationship between physical comfort and peace of mind, and how the environment around us can affect this state of mind.
Her women are set in scenes of rolling hills of flowers and palpable paint amongst other wilderness. However picturesque the setting may seem, there is a sense of distress and loss. Some of the women lie in a lush, colorful sea of flowers, but still have a look of distress on their face. There is repeatedly a flaming asteroid in the background, implying an impending doom. Levasseur beautifully portrays these women full of emotion, with an inevitable tragedy behind their eyes, if they even have eyes at all. Many of the faces have eyes hiding behind strokes of color, or holes where their eyes used to be. Each woman, beautiful in their own right, is lost and being engulfed in her equally as beautiful surroundings. All of the seeping colors, crushing flora, and heartbreaking women become meshed together in Levaseur’s paintings. She represents this world as a single organism, blending color and form.
Alexandra Levasseur’s solo exhibition Body of Land is on view now at Mirus Gallery in San Francisco.
Berlin based photographer Bagrad Badalian uses the technique of long-exposure photography to bend and manipulate light in his energetic and magnetic photography. The motion in his photography combined with a long exposure elongates his subjects and drags colored lights across the composition. Badalian, mainly focusing on the human form as his subject, allows the figure to be taken over by hypnotic, multicolored light sources that bounce and bend across the figures. This element along with his carefully cropped compositions render many of the subjects unrecognizable, shifting the focus onto the many waves of light. Each color seems to be exploding from the bodies with an energetic force, creating a vibrant pulse felt by the viewer. As you look at each figure in motion, you can feel the pulsating rhythm that encompasses each photograph.
“The photographic technique interests me for the many possibilities it offers not only to scientists but also artists. Long exposure photography is on of those techniques that fascinate me since I have started practicing photography. It allows me to decompose the movement of time and control the aesthetic and imaginative potential of chance.”
Each figure’s identity is skewed as their features are distorted and manipulated by the long exposure. This creates a beautiful, but sometimes nightmarish, effect. The colored lights dance across the figure’s faces due to the movement in the photograph, which also causes the face to shift. It becomes disfigured as the movement t manipulates the face and body like a ball of clay. Although causing a face-altering effect, Badalian’s technique is overall unique, holding a strong and powerful force.
Spanish photographer Eugenio Recuenco has taken the timeless and iconic work of the notorious artist Pablo Picasso and translated it into contemporary photography. He models each photograph in this series after a single Picasso painting, recreating it as a seductive, contemporary photograph. Each painterly photograph is taken in such a way that even these real life women seem to be painted onto a canvas. Having had his hand in commercial and fashion photography, the influence from modern high fashion can be seen. Because Picasso’s work contains such vivid colors and a strongly recognized cubist style, the model’s make-up and clothing are a vital part of what allows the photograph to imitate Picasso’s paintings.
Cubism, the artist’s most famous stylistic period, is achieved by dissecting parts of the subject in the painting, and breaking them down into geometric forms. In this case, the subjects in the photos are women covered in geometric patterns imitating Picasso’s paintings. Recuenco brilliantly achieves this reference to Cubism not only by the women’s clothing, but also by the perfectly placed photo fragments. Several of the photos in this series are altered so that there is an abrupt crop in the image, with extra limbs on the other side. This cleverly recreates Picasso’s ever-popular figures with extra legs, arms, or eyes. Some may say that there are just some things you can do in a painting that you cannot do in a photo. Recuenco proves this wrong with his incredible and imaginative use of make-up to mirror Picasso’s fractured portraits and misplaced facial features. In one photo, an entirely new eye is created, while in another, a sharp, black line dissects a woman’s face. Intelligent and original creativity is of no shortage in this photographer’s unbelievably beautiful series paying homage to a fellow Spanish artist.
Make sure to check out Eugenio Recuenco’s new project, a short film titled “A Second Defeat.”
Photographer Eolo Perfido’s series Clownville is a place where nightmares are real. In this series, Perfido photographs a hodgepodge group of bloody, cackling, and all together demented-looking clowns. What makes this set of clowns so horrifying is the incredible attention to detail the photographer has taken into account when developing such a dark, desolate atmosphere. We are able to see each crusty hair on the clown’s body, every white, chalky flake of skin. They have become just as grotesque as they are unwanted. The clown, who can be thought about in a cheery, amusing way, is often a subject that many people fear. Among all of the classic, cult horror films lies the infamous and terrifying clown. It has been appropriated to suit every child’s nightmare. Still, there is something incredibly sad about the clown, even in some of the characters in Clownville. Although frightening, many of Perfido’s clown seem worn out and used, as if they are just misunderstood and unfortunate. This sense of hopelessness can be seen in the photograph exhibiting a fairly large-sized clown smoking on a couch. Another representation of this is found in the face of the big, teary-eyed clown staring straight into the viewer, with no smile. The entertainers are perhaps tired of entertaining us.
Eolo Perfido’s heavily stylized approach to photography is very apparent in his series Clownville. Many of his photos have a very staged look, almost like a play, while at the same time feeling genuine. Others have an old, classic flavor due to their grainy quality and black and white tones. There is something different that can be found in each clown as their creative make up and poses reveal bits of their character. As unnerving as this series may be, we cannot look away from these unforgettable, chilling faces.
Artist Jaroslav Wieczorkiewicz uses unlikely elements to construct his unbelievable and complex photographs of superheroes, or Splash Heroes. However, unlike normal superheroes, his heroes are not wearing ordinary uniforms, but outfits created from splashes of colored milk. Each constructed photograph contains a confident, strong superwoman posed in a capable and superior pose. Even more impressive, the liquid was not just simply digitally edited onto all of the models, but actually thrown onto them during the photo shoot. Wieczorkiewicz created this liquid clothing with splashes of milk with food coloring. Splashes are thrown in different places of the body in order to fabricate multifaceted outfits to mimic how real clothing may fit. This process demands an extreme amount of time and patience in order to create such a flawless result. In fact, each photograph is created from layering and editing together about 200 images. These many photos are layered over each other to form the finished photograph.
This is not the first series of milk-covered women that photographer Wieczorkiewicz has done. He has also created a similar series containing pin-up girls dressed in splashes of white milk. In this most recent series, Splash Heroes, Wieczorkiewicz’s work is pushed to a more dynamic level full of energy, movement, and dramatic color. The deep, glossy colors of liquid add a powerful vibe that gives the women a demanding presence. Each woman superhero is in mid-motion as their milk-suits swirl and travel around their bodies, creating a force field of milk. Wieczorkiewicz has all of his Splash Heroes available in a calendar, one for each month. (via Faith is Torment)
German photographer Frank Bauer takes celebrity portraits. It’s an interesting conundrum, capturing a famous face on film. The picture is taken because the audience wants to see that well-known (if not loved) face, but the resulting image is of a sight we’re used to seeing. How, then, to make the ubiquitous new again?
In Bauer’s skilled hands, the celebrities seem to relax. The inner sanctum opens a bit, and the person behind the celebrity peeks out. Actress Tilda Swinton, known for her androgynous fierceness, softens. Cool, coture-wearer Cate Blanchette smolders. Clearly not camera ready, director Steve McQueen stifles a yawn. Musician Iggy Pop looks stripped of artifice in his rear-view mirror shot.
For all the personal exposures in his work, Bauer is remarkably hard to find. His website is neatly organized, with a news section that documents his recent work, but there’s no “I” there, no personal commentary or gossip. Same with his Facebook page: friendly-seeming and public and absolutely impersonal. Perhaps it’s his way of creating a void, one that these performers will want to fill. Maybe he’s seen what it means to reveal oneself. It could be a business decision, an unconscious choice, a cautious reticence. Whatever the reason, Frank Bauer, unlike his famous subjects, is a bit of a cipher, one who lets his intimate and beautiful work speak for him. (Via It’s Nice That)
When vegetal artist Duy Anh Nhan Duc and photographer Isabelle Chapuis collaborate, the resulting images of people and flowers are anything but cliché. The series “Etamine” (stamen) and “Dandelion” are elegant and surreal, beautifully conceptual and expertly shot.
In “Etamine” a somewhat androgynous man is adorned in black and red and purple and yellow. “Fragile compositions of thousands of petals: carnations, anemones, irises and chrysanthemums merge with the skin.” The petals resemble feathers, as if these are sensual and captivating birds preening for the camera.
“Duy Anh Nhan Duc is an artist who handles vegetal art in a very singular way.… He merges plants with human bodies, integrates them with objects, combines them with his drawings or stages them though his short-films. Through his work, he weaves a poetic world where plants rule as masters.”
Like its seed head, “Dandelion” feels more fragile, suspended in time, as if the female model is holding her breath. Shot against a black background, the dandelion seeds are as impossibly delicate as snow or fog. Where in “Etamine” the petals have merged with the male figure, the seeds in “Dandelion” are ephemeral, pausing for a moment before floating away on a breath or a breeze.
Chapuis says, “I’m very inspired by the aesthetic movement in painting, Tim Walker. C’est l’art pour l’art. Art for its own sake. It’s only about emotion. I don’t want to accomplish anything beyond appealing to peoples’ senses”. (Source)
These series are proof of the magic that can happen when two extremely talented artists combine forces to make captivating work. (Via Ignant)