Rome, Italy based Micaela Lattanzio has created a unique artistic identity by exploring the idea of fragmentation and reconstruction, implemented within her photographs. In her series called “Frammentazioni”, she takes photographs, predominately portraits, and then gives them a completely new personality by cutting them up into abstract pieces. She then pins the fragments together onto a new canvas, playing with light and depth, to create original works of art.
She uses different materials to realize her works as paper, aluminium, PVC and they born from a detailed manual photo or painting cropping made by her plots, which she breaks down into small pieces of different form, getting an intricate mosaic through which she deconstructs the image that later reassembles, giving to faces, bodies and natural elements a new logical visual that follows an incredible creative patterns.
New Zealand-born photographer based in Sydney, Australia Simon Davidson has been photographing the sub-culture of burnout competitions in Australia. Davidson has become recognized as one of Australia’s leading photographers. Self-taught, he has created a successful career photographing a wide variety of subjects, creating content in both the advertising and editorial environments internationally.
With his Burnout series he recognizes beauty where it’s not immediately obvious. He finds expression in a car spinning its rear wheels with the single purpose of destruction. His images are superbly composed contemplations of the moment. Slices in time that hold the gaze with car, driver and movement balanced in an ideal expression of a sublime modernity.
“The guys and girls who compete in the various competitions across Australia are a passionate bunch. As a photographer I enjoy the visual feast of a superb and powerful car on the black of the burnout pad juxtaposed against the softness of the tire smoke. In reality a burnout is extremely loud and aggressive but in the photos there is a sense of calm… poetic in a way.” Simon Davidson
New York based Cari Vander Yacht is an illustrator and gif maker creating dynamic, fun and relevant images. Her work comprises color, texture, and funny faces – all wrapped up to produce amusing, story-driven animations. Working with a combination of illustration and photography, Cari creates animations that draw inspiration from her everyday life; from people on her block to quiet moments at home and the little jokes that pop up between.
Since 2009, Vander Yacht has displayed her work as part of solo and group shows in both her home state and in places as far-flung from Oregon as Lianzhou City, China.
Angela Deane explores the beautiful, painful, and ultimately puzzling, human condition of having memories. Deane covers people on found photographs with paint, subtracting the specific identity of each person and transforming them into anonymous entities for the viewer to project upon. The new portraits liken themselves to the familiar visual of a ghost, cloaked in opaque material and masked behind the guise of the fabric.
Koen Hauser works as a photographer and visual artist. He finished his masters of science in social psychology, later followed by studying photography at the Gerrit Rietveld Academie.
Hauser is known for his intangible body of work flowing between fine arts, fashion and applied photography. From purely esthetical to highly conceptual, he frequently references or paraphrases the iconic visual language of historical photography, or even incorporates exisiting images into his work. Together with his distinguished feel for appearance and his love for the mysterious, alienating, strange and uncanny, these are the key elements that form the core of his body of work, which has a distinct metaphysical dimension.
Seoul, Korea based Hyungkoo Lee‘s series of photographs and wearable sculpture helmets known as The Objectuals are fitted with interchangeable concave and convex lenses which shrink, expand and distort his features while allowing him to perform any normal daily activities. The lenses can produce disturbingly exaggerated facial expressions, faces that are cartoonishly demure or aggressive.
Aïda Muluneh is an Ethiopian artist based in Addis Ababa. In 2000 she received a Bachelor of Arts degree in film, radio and television from Howard University in Washington, D.C. Muluneh is the 2007 recipient of the European Union Prize in the Rencontres Africanines de la Photographie in Bamako, Mali, as well as the 2010 winner of the CRAF International Award of Photography in Spilimbergo, Italy.
Muluneh’s work on body painting is inspired by traditional body art from across the African continent. “Each work is a reflection of conscious and sub-conscious manifestations of time and space,” she writes.
Xiaoyi Chen currently lives and works in UK and China. She received her MA in photography from the London College of Communications in 2014 and was awarded the LCC/Photofusion Prize. Chen’s work has been exhibited and published internationally.
Chen’s practice is tied to a natural, oriental aesthetic, influenced by Western abstract art and oriental philosophy. Photography is a personal tool for Chen, used to question broad concepts that migrate from the personal to the philosophical realm. Her recent work focuses on the combination of photography and printmaking, a combination of techniques used to explore beneath the surface of things by simplifying and abstracting; an approach aimed at reviving spiritual awareness and intuition before entering the symbolic nature of what we view.
Originally from California, Laura Thompson moved to the UK to study International Relations at the University of St Andrews. After reading Richard Sennet’s anthropological and scientific studies, in which he states that technological advances have made us more and more detached from nature, creating a passive culture that deprives our senses, the Glasgow-based photographer knew she wanted to reflect this thought in her photographic work.
“From these findings I began to create modern day mythological narratives in which I explore themes associated with the dislocation of our senses. It is centred on constructed “yeti-like” creatures made up of either disposable manmade plastic forks, earplugs, vinyl gloves, car air fresheners or compact mirrors, each representing one of the senses. These creatures have been consumed by these modern, materialistic items and as such can no longer sense anything at all. Neither human nor animal, they wander between worlds fitting in nowhere, yearning to be part of a world they no longer belong to, and becoming a creature of myth.” Laura Thompson
The collage work of Jesse Draxler combines tendencies of immediacy, appropriation and a denial of visual ownership, though with hand-crafted technique. His mixed-media fusion of found images, typography and design sensibilities thrives in information-overload times, both in drawing inspiration as well as being viewed instantaneously. By finding source material from anything, Draxler is able to ‘remix’ fashion spreads as easily as referencing art movements, crafting a new 2-dimensional language that has an immediate accessibility.