Roberto Foddai Turns The Camera On Himself In His Dramatic, Erotic, And Comedic Self-Portraits

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It is the age of the selfie, and yet Roberto Foddai’s self-portraits feel like anything but. His images range from dramatic, erotic snapshots to costumed and posed portraits. The Photoshop manipulations he executes, notably in the “make it double!” series, are both subtle and transformative. He merges pictures of himself into the same frame, doubling the impact. Two Robertos laughing together, two lying on the same bed, and, memorably, one pleasuring his “other” self. The effects are transparent and the narrative in the pictures exists outside of their computerized genesis.

Why the costumes, the playacting and grimacing? Why two Robertos in the frame? He answers:

1. I like to be other people as I am often bored of myself.

2. It is easier to be boring in my daily life and dressing up in photographs fills the need I often have to be different.

3. I think, as Feminist and writer Carol Hanish said “The Personal is Political” so it is me in the pictures but they are often a political statement and maybe not as personal as they look.

We see Roberto Foddai as Freida Pinto. Roberto Foddai as a pink gowned ingénue. Wearing a necklace of shuttlecocks. In a swim cap, a nightgown. In underwear and red socks. Cindy Sherman’s self-portraits in disguise are called to mind, but unlike Sherman, Foddai makes very little effort to camouflage himself completely.

I always liked the idea of documenting my own life for myself. Keeping a visual diary of my life also gave me other ideas or other subjects I could work on. This is clearly a work in progress and without any doubt one of my favourite parts of my work. I often struggle with the way I look but it helps me to look at my life in a more objective way.

In many of these self-portraits Foddai is not conventionally attractive. Sweaty, with decayed looking teeth, and testicles poking through his underwear, these images are raw and unadorned. And it’s that truth in the images, in the portraits, that makes it difficult to look away.

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Surreal And Unnerving Photo Manipulations Question The Nature Of Reality

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For his surreal photo manipulations, the Buenos Aires-based digital artist Martin De Pasquale contorts his own body to imbue the mundane rituals of daily life with a sense of humor that sometimes veers into the realm of terror. With the wonderfully oxymoronic title “Impossible Photography,” De Pasquale’s work stretches the medium to its limit, boldly questioning our assumption that the photographic object necessarily reflects reality. Though indeed impossible, the strange and comical mishaps— and horrors— of the work speak to very real existential anxieties.

Here, the human body emerges as mechanical, much like the the camera itself. Like the gears of an advanced automaton, heads and faces are replaced with ease, and the treat of mortality is abated with ever-renewed body parts. In some ways, the impossible photographs recall the paradox of the Ship of Theseus, a thought experiment which asks if a ship remains essentially the same after each of its parts are replaced. Here, the ship becomes a human being; in the daily grind of life, our protagonist is continually deconstructed and reassembled. Does he become generic, or does he hold fast to his identity?

In so questioning the individual, De Pasquale’s imaginative images challenge the notion of replication, which in turn examines the very nature of the photograph. Seen here many times over, the self is given over to a mysterious—and frightening— sort of duplication, giving rise to unnatural yet indistinguishable bodies that are ultimately mere simulacrums of the original. Take a look. (via Demilked)

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