Benoit Paille describes himself as an atypic artist, conscience agitator, creative genius, monstrously curious, absent and edgy. With his growing number of likes in the digital world, we can really say he acquired the artist status. Far from looking for specific opportunities of creation, it’s in the primal impulse, the instantaneous situations that images reveal to him spontaneously.
Using colorful flashes to outline surreal representations, he often sees himself like an hyperrealist painter. Paille’s pictures document an altered state of mind. Cultivating a predilection for casual people and locations, kitsch landscapes, fences and strange parking lots, he constantly finds himself seeking the unexpected and the unseen.
Fat & Furious Burger is a project by french graphic designers Thomas & Quentin who started putting together elaborate burger ideas during their lunch breaks. The two graphic designers from France have recently begun to generate internet buzz with their burger creations.
They decided to cook some crazy burgers in their little kitchen. It soon became a ritual: improvising and experimenting each week new ways of cooking and representing a burger in very short lunch break. It takes about an hour and a half to find an idea, run to a supermarket to get everything, cook, take a shoot and eat. From week to week, they tried to re-invent some edible burgers, despite their over the top made to be photographed nature.
Brooklyn based Photographer David Samuel Stern builds a bridge between direct portraits and abstraction. His way of abstracting the images does not only offer his subjects a way to hide within themselves, but also turns digital photography into physical objects by adding geometric texture.
Taking several photos of his subjects, Stern then physically cuts them apart and threads them together, causing both the image and the sitter to become a complicated fracture of bits and pieces we cannot fully make sense of. The series is a kaleidoscope of splintered identities, the distortion adding another layer to what would generally be considered a standard portrait.
Lars Elling‘s paintings are layered narratives told in a fragmented visual language that incorporate allusions to film and photography, sometimes also invoking nostalgia with references to private photo albums.
In Elling’s large canvases, human bodies rarely take entirely conventional forms. Rather, their faces and limbs melt into nonfigurative elements–atmosphere, blurred color, scrubbed-out regions of neutral tint–gesturing toward a broader horizon, nodding at persona and narrative while ultimately frustrating any drive toward coherence or story.
Sigmar Polke was a German painter and photographer who experimented with a wide range of styles, subject matters and materials. In the 1970s, he concentrated on photography, returning to paint in the 1980s, when he produced abstract works created by chance through chemical reactions between paint and other products.
Polke launched Capitalist Realism in response to Pop art, exhibiting the first works in this genre in Düsseldorf. Polke took as his motifs such ordinary food items as chocolate, sausages or biscuits, isolating them and apparently depriving them of their tactility in order to elevate them to the status of aesthetic signs.
Known as one of the most influential photographers of street culture in the new millennium, Boogie emerges once again to spark our curiosity and narrate authentic stories in his own raw style. A Wah Do Dem, Boogie’s sixth monograph, and his first one in color, takes us far away from the familiarity of the West, and throws us into the noisy and cryptic underbelly of Kingston, Jamaica. Through his pictures, Boogie illustrates both the madness and humanity of a complex place, where poverty, violence and crime are often dominant elements of daily life. He relies on his instincts to gain the trust of people who live on the edge of society, and to photograph their world in an honest and objective way. “I was waiting in a back alley, all the way down the lane, in one of the sketchiest neighborhoods in Kingston. It was pitch dark, and it felt like I had been waiting forever. At some point, a guy wearing a creepy horror movie mask and carrying an M-16 appeared from the dark,”Boogie writes in his introductory text, “Even though I was brought there by a friend of a friend, I was really nervous, you never know when things might turn ugly. After a brief introduction, I started taking pictures of the guy, roll after roll, I couldn’t stop. It was the last night of my first trip to Kingston, Jamaica, and at that moment I knew I had to come back again very soon.”
Julie Cockburn is an artist based in London. Her work is best defined by its delicate craftsmanship and by the transformation of every day and found objects into works of art. Cockburn’s pieces are elaborate, intriguing and beautifully executed, with an autonomy that makes one want to believe their existence.
Her photo-based collages embellish and distort vintage images using tools that range from embroidery to Photoshop. To begin each piece, Cockburn trolls junk shops and garage sales for old photos, often studio pictures from the middle of the last century. She scans them and uses the computer to plan what she wants to do. Then she transfers the digital sketches back onto the original, and proceeds to cut or sew or draw or paint. The results subvert the decorum of the tidy portraits and landscapes she chooses, making something strange and beautiful.
People have been escaping reality since the dawn of the frontal lobe, but since the dawn of video games and the internet, humans have almost disappeared completely by creating worlds of their own, virtually. British artist and photography student, Ollie Ma’ showcases this new paradigm of reality by integrating photography with images from the popular video game, Grand Theft Auto V, to create his series, Open World. He highlights the feelings of dislocation and disconnection of young people growing up in small British towns. The results are simulating and stimulating to the senses.