Collages By Kalen Hollomon Blend Ordinary Images With Provocative Cut Outs

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Visual artist Kalen Hollomon, recently titled the “cut out king of New York”, is blurring the lines between the social conformity and taboo with his mixed media artworks. His collages feature mundane city life moments, high fashion editorials and old advertisements blended with clippings from vintage pornography scenes.

“I am always concerned with what lies beneath the surface – with relativity, perception, sexuality and pop culture. My images are reality manipulation, manipulating other people’s identities. The idea of and ability to alter the value or meaning of an image or object by adding or subtracting elements is really exciting to me – adding or taking away elements from something until it becomes the sexiest it can be at that moment.”

Holomon is christened to be the child of the iPhone generation. Snapped with a smartphone camera, his creative collages started gaining exposure thanks to the social media platforms Instagram and Twitter. However, the same attention has forced the artist to censor some of his works. Hollomon says he “had accounts shut down and posts removed for as little as butt cheeks”.

Beyond the absurdity and wit, Hollomon’s work also represents the new trend of privacy-lacking public photography. His instant iPhone images from New York’s streets and subways rarely deal with any permissions for public use. That unawareness is exactly what turns such works into powerful socio-documentary messages. (via Dazed)

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The Wonderfully Disturbing Work Of Geneviève Santerre (NSFW)

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French artist Geneviève Santerre‘s body of work is, well, about the body. Explicitly erotic, her work is shocking and provocative. It speaks to central concerns about women’s bodies and sexuality in general. From human-animal-creature genital hybrid sculptures to bronze cast vaginas to a pair of discharge-soaked underwear hand stitched with the words “shit happens” to a tangled and suspended speculum to a performance piece wherein she wears a Niqab adorned with silicon vaginal molds, Santerre is by no means subtle. Her work is direct and compelling, challenging the viewer with something powerfully resonant yet potentially disturbing. Santerre pushes boundaries, asking us to reflect on recontextualized sexual images.

Santerre explains in her statement, “Belonging to a generation that is supposedly open sexually, I wonder why this jubilation is considered taboo. Despite some improvements since the feminist movement in the 1960’s, contemporary society remains patriarchal and regards women as objects, while frowning upon sexually open women. 

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