Showing posts with label manipulation. Show all posts
Showing posts with label manipulation. Show all posts

Sunday, October 24, 2010

Tim Hawkinson


Bird, 1997
(Made of artist's fingernail clippings)


Corner Clock, 1996


Emoter, 2002
(Moving articulated artist's face)


What I still like most about Tim Hawkinson is explanation of why his image is the source material for a lot of his work. He says that his face is "readily available" and that he "owns the sole copyright to his face", but also that in the end, the work is too abstracted to look like it even started as him.

Jerome Abramovitch

I'm really pretty into Jerome Abramovitch's work.



It's hard not to - he's doing work in a lot of realms that are already really interesting. Risky but elegant.

His mannequin series is seamless and beautiful. His site has a section of bike portraits, which are also really well done. Additionally his work includes amputees, transgendered individuals, burn victims, and fetish material. In a way I think there is an unavoidable reference to Joel Peter Witkin when photographing these subjects, although the images are handled in a completely different way.

He has covered a broad range of events in the realm of body modification. I've got to say, I'm envious of this.

He is also featured on BME, which I'd say is an honor in the body modification community. The above image is of his electively amputated finger.




These images were screencap'd from his site [sorry!] and I'd really recommend looking at more of them there.

JK Keller


Also found on tomorrow and today.

Honestly, I am a little baffled about what this guy is doing. I really, really like it though. Another difficult balance in digital photography is that between the sly manipulation and the blatant one. I think most of my Anonym series [posting soon!] and how, in modern digital editing, it's entirely possible to edit an image to a point where it looks untouched - but if the process loses its apparentness, is it really successful?

The simulation becomes the real, we enter the hyperreal. :] Thanks Baudrillard.

Anyway, I feel like I see just the right amount of process here. I know what I'm looking at just enough that I'm intrigued. I could investigate further, but I don't feel like I need to in order to enjoy it. Another great example of this is Michel Gondry's video for Cibo Matto's song Sugar Water. I don't feel like I really need to dissect and fully understand the process to enjoy it. Although I could take it apart and figure it out, I think I enjoy it more without.




Keller's web site is really worth checking out. I feel like I shouldn't say too much about his art because it is fairly mysterious to me. The content and execution are really freakin' appealing though.