No Land is a photography project by Kiritin Beyer:
“‘No Land’ is a constant battle between man-made structures and artificial landscapes, based on the idea of ownership, compared to the naturally created lands where spirits dance and cheer.
The project shows how the industrial revolution has effected our land, flora, and fauna. Abandoned structures of an industrial age are an echo of generations past — many of these places carry an idea of mass production and creation — but when pitted against the supreme creator, it is nature which prevails powerfully in its simplicity and perfection.”
Photography by Maurice van Es:
“In my own work I always try to describe my relationship towards my subject, which is always personal. I’m not that much of a photo designer. Yes I design the objects I find but they always came to me by accident, just from living my life. I would never buy objects in a store to photograph them. That just doesn’t feel right and a bit forced. For me it’s really important that there’s still an attachment to life itself.“
Dalston Anatomy is a series of photography by Lorenzo Vitturi
“Even if I consider myself a photographer, as someone who writes with light, in my own practice I am much holistic in my approach to the process leading up to the final image. Playing with the combination of illusion and reality, mixing together different mediums such as photography, sculpture painting and collage I build temporary sets made of all kinds of materials to investigate the effect of passing time on the physical capturing its transformation and decay. The central subject of my research is the ephemerality and transience of life.”
After this long it’s been a pleasure revisiting Elle Muliarchyk’s portfolio and encountering her new project Rodarte: Fly.
“When a man photographs a women he projects an idea of his perfect woman onto his subject, but that fantasy doesn’t exist, so the work looks lifeless and predictable. They create and recreate an Icon, but all they manage to get is a Mona Lisa sans the smile – and with great tits. But female photographers usually surprise me – there is always something unsettling about the images. A woman knows how fucked up she really is and is not afraid to channel it into her work. A woman’s photograph is her self-portrait. A man’s photograph is Dow Jones of the society’s demands and expectations. It’s a generalization of course, some men photographers whose work I love – like Terry Richardson and Araki – also manage to show what’s INSIDE them rather than just pleasing the mob. And if doesn’t matter is that thing is good or evil.”
The Flatness is a photography project by Erin O’Keefe:
“The title of this series of photographs refers to both the material flatness of the photograph itself, as well as the perceptual flattening of the still life space. The images in this series explore the tendency of the camera to flatten pictorial space, and as a result, foster ambiguous spatial readings. The still life arrangements are comprised of painted plywood boards, physical prints of Photoshop gradient patterns, and photographs. There is a fertile tension between the compressed space of the image and the visual clues that allude to the dimensionality of the still life. The camera is the agent of uncertainty that invites seeing as both an intimate and critical exercise.”
KOKON is a conceptual fashion photography project by Stephanie Passul, in collaboration with Sara Schwarz:
“Fashion transforms the body. It stretches, clinches or broadens the body and works as a functional shell also as a consciously inserted design tool. The project is based on the analysis about fashion in the context of space and art. The possibilities to form the shape of the body was pushed to their limits. Layer to layer get the body covered and transformed, until he acts only as the plinth of the clothing. The project presents clothing as a heavy, burdensome shell of the body and degrades the body to the base for the artwork fashion. Afterwards, patterns were generated from the photos, which reflect the superficial and decorative function of fashion. Thus, clothing, was into the third dimension (sculpture) and then again in the second dimension (photography, pattern) transformed.”
Conceptual still life photography by Zachary Norman. Zachary also belongs to the very creative Everything is Collective.
Csilla Klenyánszki, whom I featured here over a year ago, was kind enough to send me word of her new project entitled Good Luck:
“Good luck” is a personal research for balance and the interpretation of it. The (simple) images of the series try to show the moment of this balance, where almost everything is perfect and still. As this moment is quite fragile, concentration but also a little bit of luck is necessary to achieve it.”