Kiev-based photographer Oleg Oprisco’s works modify small details in their real-world settings to convey the essence of fantasy. It is as if his photos give off the fresh, dewy aroma of a wild escape to a desolate countryside that seems to belong to no specific time or place. In one piece, a girl holds up a rolled-up piece of a grassy lawn. Though anyone could do this in real life, in the photograph she seems to wield a sort of power over the land with her powerful, summoning gaze. In another, a model holds a stained umbrella that briefly gives the impression of a multi-colored rain shower before Oprisco’s process of dousing the set in paint gives itself away. These small details invite viewers to indulge Oprisco’s innocent, storybook-like fantasies.
Argentinian photographer Romina Ressia shoots disorienting portraits, playing with textiles and props to adorn her sitters and their environments. Her recent series, “Renaissance Cubism,” is Ressia’s mash-up of two art historical eras that highly influence her work. She clothes her subjects in the austere black and white costuming of male nobility in the age of Velasquez. But a few seemingly simple placements of props and digital edits make these photographs the stuff of dreams. One character’s wig faces the front and obscures her face, suggesting her head has revolved 180 degrees. Meanwhile, another character wears a box on her head, the opening for her eye moved slightly to the right to complicate the harmonious proportions of her face. In Ressia’s “What Do You Hide?” series, the artist plays with the idea of the mask as a metaphor for the different roles we play, camouflaging the characters’ costumes with their backgrounds. Take a look at some of her work after the jump.
Sculpting small-scale worlds is all in a day’s work for Korean artist Myung Keun Koh. The Pratt Institute graduate’s oeuvre consists of photographic laminates delicately pieced together in three-dimensional forms – boxes that sometimes convey little buildings, cityscapes and classical nudes that glow with luminescent light from within. Koh prints his images on transparent film and then laminates those images, melting them together to form his sculptures. Viewed from different angles, the printed images on these boxes shimmer fluidly, the result of careful abstract arrangement. With the medium of photography, he captures a single moment — but when the photos are layered into boxes, the moment becomes alive again.
South African designer Justin Plunkett’s “Con/struct” series has more in common with the digitally-fabricated renderings of speculative architecture than documentary photography, but it illustrates an eerie collision of both formats. The images are built from a combination of photography, 3D modeling and substantial post-production editing, to form street-level perspectives of futuristic urban fantasies.
Inspired in part by the Land Art movement of the late 1960s, Javier Riera’s “luminance interventions” — geometric patterns projected directly on natural landscapes — are there one moment and gone the next with the flip of a switch.
Photographer Shinichi Maruyama employs cutting-edge technologies to capture elegant and abstract images of liquid and human forms in motion. In a series entitled “Kusho,” which is part performance and part image making, Maruyama throws black ink and water into the air and records the moment the two separate mediums collide. Although these images could only have been captured using brand new strobe light technologies, Maruyama still draws his inspiration from timeless artistic practices and preoccupations. In his artist statement, he writes about memories of writing Chinese characters in sumi ink as a young student: “Once your brush touches paper, you must finish the character, you have one chance. It can never be repeated or duplicated. You must commit your full attention and being to each stroke.” Like the brushes of ink on paper, each depiction of the ink’s flight through the sky represents a fleeting moment that can never be recreated.