‘Heritage and Acquaintance' exhibition by Tunisian artist, Abdallah Akar, at the Sharjah Art Museum
Elle Fanning poses for a teen Vogue photo shoot in Malibu, California - 04/04/14
Choreography by George Balanchine
©The George Balanchine Trust
"People are perfectly happy to see women as sex objects, but the actual biologic of our bodies is apparently gross and unmentionable."
- Our Bodies, Ourselves.
“The past was a lie, memory has no return, every spring gone by could never be recovered, and the wildest and most tenacious love is an ephemeral truth in the end”
Gabriel García Márquez (via journalofanobody)
The Ghostly Sculptures of Bruno Walpoth
Ghostly sculptures of Bruno Walpoth. Life-size, his powdered beauties, as if in opposition to their ghostly stature, seem heavy and grounded, their gazes locking whomever sees them into a spiritual arrest.
Working with traditional sculptural methods, Walpoth’s work is almost alchemical in quality. Muscles, eyes and fingers that have been carved into wood (lime and walnut) or covered with lead leaf foils, seem soft and supple, sad and pensive. Idealistically beautiful, his figures show signs of bones and sinew under fragile skin.
Marks from carving tools show on the surface of the wooden bodies, and serve as quiet reminders that these creatures are not human. The marks break what anthropomorphizing has taken place and the observer is introduced to (or reminded of) the artist. In a strange way, that break makes these works even more fascinating; they make clearly visible the love that has been passed from the creator to the created.
“Contrary to Geppetto, who constructed himself a child (Pinocchio) out of a piece of wood to banish his loneliness, Bruno Walpoth attempts, perhaps out of awareness of life’s transience, to immortalize the volatile spark of youthfulness he catches in the eyes of his models – sometimes his own children – into a wooden sculpture,” writes Absolute Art Gallery‘s Diana Gadaldi. Walpoth’s figures are also reminiscent of the children in the paintings of Dino Valls and Gottfried Helnwein, yet are not so tortured nor forced into adulthood. They are more ghostly, or perhaps more Buddhist, as if silently accepting of a new maturity. Ms. Gadaldi also states that “[they] seem to be immersed in a moment of intimate meditation. Their detached attitude and dreamy expression are characteristic for the stage of life they are going through: one of slow but inexorable physical and psychological development. As they evolve from children to adolescents and from adolescents to young adults, the first traces of self-consciousness and emotional involvement appear on their often still infantile faces.”
Image by Katie Marshall.In a way, it had to be someone, the same way we expect an aftershock to follow an earthquake. Brett’s death made sense in a morbidly sequential manner: hero falls, admirers follow with the force of unused napkins sucked out the window of a moving car. Physicists call this kinetic energy. Sociologists call it copycat suicide. Our parents called it a tragedy and we called it fucked up or obvious or unbelievable, even when calling it anything seemed pointless, like waking from a lucid dream and trying to capture its vividness in a diary.
Hari & Deepti (India/USA)
Hari & Deepti are an artist couple currently based out of Denver, Colorado. Hari (whose full name is Harikrishnan Panicker) is a trained graphic designer and illustrator, born and raised in Mumbai, India where he was a senior designer and an established illustrator. Deepti Nair is a certified geek, an Interaction Designer and also a trained artist.
Hari & Deepti moved to Denver from India and carried with them a Pandora box full of stories and imagination that they bring to life through their intricate paper cut light boxes and paper clay sculptures. They have always been drawn towards the imaginative aspect of story telling and seek inspiration from them. Stories have so many shades and depth in them, and paper as a medium has the exact qualities to reflect and interpret them. They believe that “Paper is brutal in its simplicity as a medium. It demands the attention of the artist while it provides the softness they need to mold it in to something beautiful. It is playful, light, colorless and colorful. It is minimal and intricate. It reflects light, creates depth and illusions in a way that it takes the artist through a journey with limitless possibilities.”
They started experimenting with paper cut shadow boxes in 2010 with hand painted watercolor paper which was then cut and assembled in a wooden box to create a diorama, with years of practice their art became more intricate and minimal at the same time. They started experimenting with lights and simplified their pieces by losing the colored aspect of the paper. They have since then evolved to add their own style of paper cut art incorporating back-lit light boxes using flexible LED strip lights. “What amazes us about the paper cut light boxes is the dichotomy of the piece in its lit and unlit state, the contrast is so stark that it has this mystical effect on the viewers.” (src. Black Book Gallery)