Wishing a very Happy Easter to those who celebrate it!
Archive for photography
Since Real Monstrosities did such stellar job of giving the scoop on these beauties, rather than repeat the info I’ll guide you to that post.
Seung-Hwan Oh is a South Korean experimental photographer and microbiologist. In the series Impermanence, he creates thought provoking abstract portraits at the intersection of art and organic decay. They are ethereal, electric, psychedelic, and in some ways almost spiritual…but always intriguing.
In the artist’s own words:
This project is about the superimposition of a moment in microbial growth upon a moment in the life of a person through the projection of one spatial-temporal reality onto another.
This captures the evanescence of film photography, the transiency of life, and the continual entangled creative and destructive processes; a millisecond of an expression, an instance of an autonomous geometric evisceration of film, an exploitation of chemical materiality, a vestige composed of millions of pixels, and a complete obliteration into intangible atoms that dissipate into something else.
The process involves the cultivation of chemical consuming microbes on a visual environment created through portraits and a physical environment composed of developed film immersed in water. As the microbes consume the emulsion over the course of months, the silver halides destabilize, obfuscating the legibility of foreground, background, and scale.
This creates an aesthetic of entangled creation and destruction that inevitably is ephemeral, and results in complete disintegration of the film so that it can only be delicately digitized before it is consumed.
Many, many moons ago I drafted a post about one of my all time favorite photographers, Nina Pak, and it somehow got lost in the drafts (which happens occasionally because I consume roughly 9,000 times more art than I can post here, and some drafts have been in limbo for years). So here is an updated peek into Nina’s gorgeous, fantastical world.
When I read her artist statement, I was blown away; before me was a kindred spirit who relishes symbolism, mythology and celebrates uniqueness as much as I do.
In her own words:
I have always been drawn to symbolic imagery, from ancient orthodox Icons to Tibetian Tankas, art that tells a story of the soul’s journey is of interest to me. Painters that have worked with symbolic elements such as the Pre-Raphaelites who’s paintings often depict mythological stories, and surrealists who delve deeper into psychological meaning, are what I study.
I have a lifelong love affair with these paintings, which are not only objects of beauty but also have a message. I find that I am drawn to reflections and shadows, mirrored images, textures and delicate details, anything that has potential for a story. Small objects from nature, little antique treasures, costumes that speak for themselves, something unique and wonderful. I like different.
What an honor it would be to get photographed by an artist of this caliber. The costumes, hair, makeup and settings produce windows into strange worlds that reach beyond mere beauty into the realm of story and soul.
She has an extensive online portfolio. Though I devoured all sections, I thought the Post Edit page was a wonderful feature, as we so rarely get to see the evolution of a finished product on display. Go have a look!
To alleviate the awkwardness Valentine’s Day brings about for many of us, I offer a series of couples who are almost guaranteed to be more awkward than you are.
I can’t see anything in front of me except the afterimage of plaid, which is now burned into my retinas.
Jean-Francois Rauzier makes hyperreal digital urban “utopias” and nature scenes that are utterly mesmerizing to look at.
In 2002, he created the “Hyperphoto”, a concept which enables him to deal with the impossible: to combine both infinitely big and infinitely small things in one same image, out of time. To simulate the illusion of reality, Jean-François Rauzier first had to cope with all the inherent limits inherent of the photographic and technological equipment. He found his way by juxtaposing, duplicating, twisting images, making it possible for him to reproduce human vision more accurately. This way, he generated a genuine numerical puzzle, in which the pieces, cut out, “drawn again”, come up along on top of the imagination of the artist.