Xing Danwen- Urban Fictions (2004)

Drawing upon themes of ‘urban monotony’, artist Xing Danwen has produced a series of large scale photographs to question the seemingly idilyic urban landscape. 

Looking at her work I instantly want to draw comparisons to the technical processes of Thomas Demand, and artists working with image databases such as google maps, seen in the work of Mishka Henner and Jon Rafman. Danwen has reconstructed model landscapes from digital prints of her suroundings. This contradiction and juxtaposition of scale from down-sizing in photograph and model, to up-scaleing in the final photographic print- heightens a sense of unease and surreality to the body of work. 

Amongst the huge architecture, we see small scenes of ‘everyday life.’ Ranging from the mundane, like smoking a cigarette, riding a bike, to the not so everyday knife murder; these images prompt us to question our surroundings and our position within them.

The figures, modelesque in aesthetic, invite us to relate to them in their activities in some sense or another. (Although perhaps acting the murderer is a less empathic role for us to relate to.)

As a result, the work acts to represent the stifiling, constructed nature of the urban landscape. Placing us as figurines in a ‘concrete maze’ where ‘everyday life’ is part of a game we enact. 

To see more of Xing Danwens work, please see the following link: 

http://www.danwen.com/web/

Estelle Hanania - Shady 

http://www.estellehanania.com/

Erno-Erik Raitanenborn - Bacteriograms (2008-2010)

Bacteriograms are an interesting extension of the notion of a ‘self-portrait.’ Raitanenborn has taken bacteria from his own body, cultivating it directly onto colour negative film. In doing so, degrading areas of the film gelatin, creating abstract shapes and unpredictable colours when processed.

What is particularly successful with this body of work is that despite the photographer showing nothing of his own physical appearance, Raitanenborn manages to retain a strangely personal element, that allows us to become compelled and intrigued by his images. The fact that what we are seeing is a biochemical reaction between the materials of photography and the photographer himself, creates an ‘organic’ bond. Effectively portraying the notion of both the materiality of film and its intrisic nature of representating the individual. Contradicting the codes and conventions of traditional self portraiture, we nevertheless feel to some extent similar reactions to the piece. However in this instance, the photographer has physically given a part of himself to the picture.  

www. ernoraitanen.com

© All images - Brandt M., 2010

Matthew Brandt continues his experimentation in photography with recent project - ‘Lakes and Reservoirs.’

The premise underwhich this project functions, acts to juxtapose the ‘real’ and what we see. Brandt has carefully controlled and created a unique method of production which has allowed the creation of a series of intriguing and engaging images.

We perhaps first notice the prominence of degredation within the images, which through the striking colours produced creates a certain level of aesthetic enticement. Looking further into the images we see the meticulous approach to composition Brandt has taken with each location. Beautiful lakes and mountain scapes fall in and out of frame in accordance to the classic rule of thirds, and other such ‘classic’ composition techniques.Nevertheless in the treatment of the C-Print afterwards, these images are quickly transported away from the typical glossy-calendar-scene image.

To create these effects, the photographer collected water from each lake or reservoir he photographed. Which was then used to soak the print for a given period of time - the effects of which we can see in the images above. It is the specific process that enhances a visual interaction between notions of representation and the real, the location itself and what we are shown. 

‘They are circumstances of a Lakes’ image that meets its real substance.’  M. Brandt 

- http://www.matthewbrandt.com

Daniel Evans & Brendan Baker  - Moronic

‘Moronic’ Is a series of photographic curiosities that explore our capacity to fully understand and control language. Constructed still-lifes and semi-performative methods are used to illustrate a collection of contradictory statements found within news media search engines.’ - http://nocultureicons.com/danny-evans—brendan-baker/

With ‘Moronic,’ Evans and Baker have produced a series of intriguing images which explore the inherent paradoxes found within our language. Whilst numerous of the images depict a literal approach (images titled ‘egg plant’ that simply show a plant with eggs growing on it) others require a more in-depth analysis of their meaning, making for a challenging piece worthy of note from audiences. 

Zander Olsen - Tree, Line 

http://www.zanderolsen.com/Tree_Line.html

Kenji Hirasawa - Celebrity

‘Both a documentary analysis and a conceptual deliberation, Celebrity is a visually exciting criticism on the social impact of idolisation and capricious desires. Who are these people we admire so much, what role do they play in our lives, and what absurdities do they evoke from us?’

- Bemojake.com

Photographing wax work models at Maddame Tussauds using a thermal imaging camera, Hiraswa effectively creates a commentary on contemporary cultures relationship with ‘celebrity’ figures. The blank voids in the photographs representing a literal metaphor of the distance we have from the true figures that we aspire to be so much.

http://www.kenjihirasawa.com/

Christian Tagliavini - Cut Out & Keep 

Taliavini’s process with his body of work is not disimillar to other popular art photographers already widely exhibited within the industry. Alike Thomas Demand and other photographic practitioners who re-create specific spaces in an attempt to analyse photography’s relationship with the past and present.

The artistic skill involved within the portraits makes them instantly engaging for an audience. The meticulous reconstruction of period garments, lighting set-ups alongside the pose and facial expressions of his subjects are confusingly realistic. Again we are shown a reconstruction of an original object, the emphasis placed on its inauthenticity questioning the impermance of our reality, in this case this specifically relates to fashion. 

Despite finding the project intriguing ( largely due to its aesthetic appeal which lends a sense of fragility the work), it seems overall somewhat a dissapointing concept. Fashion is a disposable industry, the method of representation for the argument of clothings immateriality within history, maybe becomes somewhat stifilied in the choice of reconstruction in this mannar. I feel it is a shame that the pictures although beautiful, continue to connote the superficial, a tired argument in regards to fashion. 

Perhaps it is the question of how else do contemporary photographers choose to tackle such themes? What themes should begin to be addressed in todays artistic world to produce something organic, innovative and inspiring in both its method of production and intellectual concept. 

Neverthless see the work for yourselves!

Exhibited 03 Nov 2011 – 07 Jan 2012 at Diemar/Noble Photography

Address: 66/67 Wells Street, London, W1T 3PY

http://www.christiantagliavini.com/

Julia Perione - Cherry Burst, Blackberry Bloom, Electric

Listed as an ‘emerging talent’ by BJP, Julia Perione sets to entrance her audience in an incerdibly seductive image series titled ‘Cherry Burst, Blackberry Bloom, Electric.’ The play with her trademark black background seeks to not only enhance the contrast of her subjects pale skin, but also serves to envelop them within its darkness. This eery play with perspective creates a sensual effect which makes the images seem somewhat surreal yet hauntingly enticing. The subjects bodies morphing into abstract shapes through the use of photomontage techniques. Enveloping each model in on themself and their surrounding.