Archives for posts with tag: memories

It is often said that art has a way of transporting viewers, whether conjuring past memories or sometimes through the immersion of visual stimulation. In the case of London-based Japanese photographer Chino Otsuka, such transport is a bit more literal, and turned on herself as both photographer and subject. Otsuka’s series Imagine Finding Me is a sort of conceptual time machine, where she digitally inserts herself into childhood photos. In her own words, Otsuka says, “A new journey has begun, on board a time machine built from digital tools. I’m traveling back, transported to places where I once belonged, cities where I once visited and on arrival I find myself from the past. Navigating through the labyrinth of memory I become a tourist of my own history. And throughout this unique journey I keep a diary.” We are absolutely taken with the concept, but it’s Otsuka’s adept skills with said digital tools that really make this series shine. In the hands of a less capable photographer, this would not have been nearly as effective. Huge success any way you look at it.

Via chino.co.uk

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Make no mistake, the captivating portfolio of Thailand-born, Sydney, Australia-based photographer/designer Peechaya Burroughs is no child’s play. Though her work is certainly whimsical and intrinsically approachable, it boasts no less artistic merit than fine art of a different nature. Burroughs’s minimalist approach to mostly hand-manipulated works is striking in a vast ocean of tricked out Photoshop work (which has merit in its own right, but the work of Burroughs is sort of refreshing in some ways). In her own words, Burroughs explains: “My photographs mainly consist of things that I create or manipulate by hand. Occasionally I use Photoshop when enhancing the idea and presentation of an image fits well. Driven by childhood memories and very much fascinated by children’s imagination and their quirkiness, the direction of my photography is light, easy to approach with a little touch of everyday optimism.”

Via peechayaburroughs.com and Instagram

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Photographs frequently serve as links to the past, often summoning up memories of a time that came before. Tennessee-based photographer Greg Sand capitalizes on this association, which is fundamental to his philosophy as an artist. In his own words, Sand says: “My work is about memory, the passage of time, mortality and the photograph’s role in shaping our experience of loss. Photography’s unique ability to capture a fleeting moment allows it to expose the temporality of life.” In his series entitled Remnants, Sand creates stunning works composed of three found photos from different times in the subject’s past, cut into strips and skillfully woven together to form a sort of cloth-like composite portrait. Sand says of woven cloth as a metaphor for memory: “As Peter Stallybrass writes in Worn Worlds, ‘The magic of cloth is that it receives us: receives our smells, our sweat, our shape even.’ This is one of the marvels of memory as well: we perceive each moment in our lives; these are eventually woven together to form our memory. Each piece in this series creates a likeness of an individual that–rather than depicting an accurate visual representation of that person at any given time–presents a recollected coalescence of that person’s appearances throughout his or her life.” We love the concept, and Sand’s execution is picture-perfect.

Via gregsand.net and Behance

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If you were thinking of invading any given place, the use of balloons would not likely be involved. Unless, of course, you’re an artist with a statement to make. Such is the case with French photographer/artist Charles Pétillon and his “Invasions” series. Pétillon uses white balloons of varying sizes as a way to “change the point of view that we encounter every day without regard to it. It is our view that I try to sharpen and to move from a practical perception to visual emotion.” Pétillon essentially fills spaces, both architectural and natural, with said balloons. The resulting visuals become metaphors for various themes. The house overflowing with balloons, for example, is a metaphor for family memories that spring from home. Pétillon says, “The white balloons symbolizing childhood naivety. This metaphor allows to ask us about family memory. How is it spread? Is it a universal need?” Other pieces in this visually arresting series include “Play Station 2,” a basketball net symbolizing the video game universe, and “Mutation 2” DNA structure symbolizing genetic modification. It must have been quite a feat handling such a massive amount of balloons, and still making them look quite beautiful and surreal.

Via charlespetillon.com

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