Miniature Dioramas By Didier Massard Unfold Surreal Landscapes

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French artist Didier Massard creates eye-deceiving miniature dioramas depicting surreal, mystical landscapes. From a first glance, these sets remind of extremely detailed, hyper-realistic paintings or digitally rendered images. The striking effect unfolds after closer examination, when the viewer is exposed to careful layering and thoughtful light arrangements.

Massard explains his inspiration comes from real and imagined places. The limits of real life infuses his imagination to create mythological and romantic scenarios, which he then calls “the completion of an inner imaginary journey”. China, India, the cliffs of Normandy and many other locations have been depicted in Didier’s works.

“There were many places in the world where I’d never gone that I wished to photograph. I realized that they would not at all look like the images I had of them. Reality was different from my imagination. So I started building and photographing in a studio what I had in mind.”

Artist spends months constructing his miniature worlds, thus the collection is only slowly growing in size. Massard started his career as a commercial photographer for fashion and cosmetic companies like Chanel, Hermes and others. After his first series of dioramas, titled “Imaginary Journeys”, his work was acknowledged and now Didier works exclusively on his personal projects. His work is currently on display at Kopeikin Gallery in Los Angeles until August 23.

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Studio Visit: Marci Washington’s Paintings Tell Gothic-Romantic Tales

As part of our ongoing partnership with In The Make, Beautiful/Decay is sharing a studio visit with artist Marci Washington. See the full studio visit and interview with Marci and other West Coast artists at www.inthemake.com.

We visited Marci in her backyard studio in Berkeley. It sits just behind her home, a kind of garage/storage space that got converted into a cottage. It’s comfortable and functional, with an open feel to it. Marci is full of gusto— she talks with her hands, takes on all kinds of facial expressions, and she’s funny as hell. She enthusiastically moved through our conversations, at turns awkward and eloquent, but always unguarded and real. We talked about a lot of things, but her affinity for the landscape of the English moorlands, particularly within the context of Romantic Literature, really struck me. Those rolling, uncultivated hills covered in low-growing grass, shrouded under heavy fog and moody skies have wholly captured Marci’s imagination. And it makes sense that they have— much of what interests Marci is mirrored in that rugged, desolate scenery. In various Romantic and Gothic works of literature, the moorlands often represent mystery, mysticism, liberation, turmoil, and passion; they frequently echo the psychological state of the characters, and reveal their greatest desires and fears. Marci’s current work references not just the physical landscape of the moors, but also speaks to themes found in a lot of this kind of literature, and the universal emotions that are evoked—all those feelings and ideas that run wild with mystery, awe, darkness, terror and beauty. I think Marci is after a particular kind of mood that toes the line between terrifying and thrilling, creating a response that’s simultaneously overwhelming and invigorating. All of this plays into her sensibilities as an artist, but also as a person: her love of Edward Gorey and his eerie illustrated books, her unflinching need to feel everything very deeply, her leanings towards the bizarre and unique, and her fondness for the not-entirely-explained. It’s pretty damn amazing that come November Marci will be showing work in England, not far from the wild and lonely moors that have taken up so much of her imagination.

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Max Maslansky

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Max Maslansky is a tricky fellow who seems to believe in longshots. His images caress a romantic past, the voyeuristic present, and a violent future. Each image seems to shake with exerted candor, while holding your hand and telling you things will be okay.
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