Just like you shouldn’t trust everything you read on the internet, you shouldn’t believe everything you see. L.A based special effects artist Ari Fararooy‘s latest photographic series is a perfect example of this. Using a tripod, mirrors, a self timer and ‘a few digital manipulations’ he has created a very surreal, and futuristic set of self portraits. He went to Joshua Tree National Park wanting to carry on his creative twists on the latest ‘selfies’ craze.
The goal was to experiment with reflections and explore the various ways I could creatively photograph myself. (Source)
He also had this aim in mind while attending the Burning Man festival in 2014. After he found himself in the strange environment that is the desert, surrounded by many creative people, he began clicking his shutter and coming up with some very inventive camera tricks, involving glow sticks, long exposures, strange perspectives and wide angles. You can see that series here.
His photographs are just as surreal as a Dali painting, but he uses modern technologies and a different set of skills. Be sure to see the extent of his talents to transform the ordinary into the extraordinary on his Facebook and Instagram pages. (Via Fubiz)
Crazy small drawings from Edinburgh-based artist Paul Chiappe. Recreating graphite versions of early 20th century photography, the artist meticulously produces his works within tiny confines. Many of his drawings fall below the 4×4 cm. mark. Looking at the sad faces of our forebears given life by Chiappe’s drawings, you get the sense that they might easily have been forgotten by the world. His efforts celebrate those we’ve lost in a really unique way. Check out more below. (via)
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Artist Jesse Krimes stands in front of his 39-panel mural Apokaluptein:16389067 (federal prison bed sheets, transferred New York Times images, color pencil) installed, here, at the Olivet Church Artist Studios, Philadelphia. January, 2014.
In 2009, Jesse Krimes (yes that is his real name) was sentenced to 70 months in a federal penitentiary for cocaine possession and intent to distribute. The judge sentenced Jesse to a minimum security prison in New Jersey, close to support network of friends and family, but the Federal Bureau of Prisons (BOP) opted to send him to a medium security facility in Butner, North Carolina.
His way of coping with the life-changing sentence went a bit more differently than you would expect. He got by with a little help from federal prison bed sheets, hair gel, The New York Times, and some color pencils. Although money was limited in prison, he never struggled to gather enough money to purchase these objects. You might be thinking these are random, but, in fact, they are what made prison life a somewhat more passable experience.
While experimenting with these four materials, Krimes discovered that he could transfer the newspaper images onto the prison bedsheets. At first he used water to do this, but that did not work. Hair gel, on the other hand, had the requisite viscosity to do the job. He was not aware that three years after, he would end up with a 39-panel mural. Each transfer took 30-minutes. Thousands make up the mural. Krimes only worked on one bed-sheet at a time, each of them matching the size of the tabletop he worked on. The laborious routine kept Krimes sane, focused and disciplined.
Mike Harvey was a taxi driver in Swansea who began ferrying passengers around on the night shift to fund his trips overseas. Since beginning the job in 2010 he shared his car with so many strangers, each one with a story as varied as the distance they were traveling, he decided he would document them with his DSL camera. Harvey would take a snapshot of his customers at their final destination in return for waiving their payment for their trip. He said out of around 130 journeys, only 9 people refused their photograph being taken.
During this type of job, Harvey would have many different types of adventures and experiences. He would find out a lot about his passengers in a very short time, and would discover things they wouldn’t divulge to their friends. He found himself in a very sticky situation one time:
I was driving out of Swansea at about 3AM, and this girl who was full-term pregnant – you know, ready to go – was sat at the side of the road, barefoot, flagging me down. So she got in and… it’s a bit of an impromptu counseling service sometimes, driving a taxi. I said that maybe getting hammered when you’re pregnant isn’t such a good idea, but, you know, we had a nice chat. Then, when I dropped her off, she legged it. I’d usually chase after someone, but she was fully pregnant, you know? She was the one that got away, but I let her get away. (Source)
Harvey has without a doubt managed to capture all walks of life in Swansea, and his images portray all types of people essentially existing in the same way – whether it is getting a ride to or back from a hard day’s work, or on their way to celebrate or commiserate something. Harvey’s photographs are on exhibit now at Monkey Cafe in Swansea. (Via Cultured Vultures)
Tania Shcheglova and Roman Noven are a Ukrainian photography duo also known as Synchrodogs whose surreal imagery frames the human body in odd-yet-intimate relations with the surrounding landscapes. This particular series, Reverie Sleep, takes this theme of the “strange natural” a bit further, drawing on the expansive and unearthly realms of lucid dreams. Made with the support of the Pinchuk Art Foundation in 2013, this project emerged from visions the artists experienced while wandering somewhere between sleep and awakening:
“[Reverie Sleep] deals with the stage of Non Rapid Eye Movement sleep, during which some people may experience hypnagogic hallucinations caused by [the] natural process of falling asleep. Experimenting with those lucid dreaming techniques, [Synchrodogs] woke themselves up in the middle of the night to make a note of what they had just seen, gathering their dreams to be staged afterwards.” (Source)
In order to recreate their dream imagery, Synchrodogs traveled to Iceland where they immersed themselves in dangerous and bleakly beautiful environments. As they explained in an interview with NYMag, they shot near “glaciers where you can fall into an ice hole and be found in a week, or in hot lakes where you can get boiled alive if there is a geyser which decides to eject hot water while you are in [it]” (Source). This earthly threat lends the images an impassive quality, just like the intangible lands we explore in our sleep while uncertain of what threats or joys await us.
Inhabiting Synchrodogs’ eerily sublime landscapes are female figures, nude or bedecked in colorful paints and surreal costumes. Bodies morph into ferns and fruit, or lie on cold earth and exalt in the light of an alien sun. Each figure is simultaneously human and inhuman, existing in a hallucinogenic, unquestioning state that dissolves and realigns our notions of reality. Shifting between forms and consciousness, they represent creatures of a limitless and symbolic universe.
Extremely detailed machines made out of cardboard. Australian artist Daniel Agdag creates directly with his hands and scalpel. The industrial machineries he imagines and makes are a mean to raise consciousness on how human beings are powerless and ignorant over the machines they use daily.
In the ‘Principles of Aerodynamics’ series, Daniel Agdag demonstrates his ability to produce an intricate sculpture using just his imagination and memories he collects from details on architectural elements like buildings or monuments. He doesn’t sketch anything before diving for hours into his work. His process is described as ‘Sketching with Cardboard’. He conceives a hot air balloon, reel-to-reel recorder and a radar-dish without planning. The purpose remains the same : to entice the viewer’s curiosity and to generate a reaction.
The artist’s subject matter places individuals in a position of uncertainty. The machines that we use daily are complex and we tend to forget it. Furthermore, we might forget in the process that we are being helped by those machines, and that without them we could no longer pursue our effortless life. Daniel Agdad’s examination of the effect machines have on us is reminiscent of artist Jean Tinguely’s purpose. By building creative machines from garbage and found objects he ‘aimed to satirize the fallibility and unpredictability of machines and our reliance on them’. Daniel Adgad, by manipulating a simple material like a cardboard attempts to freeze time and the world we are living in. And reconnect the viewer with what he is actually capable of achieving thanks to the use of complicated machines.