Swiss-Italian photographer Christian Tagliavini combines theater with the language of portrait photography to create curious and open narratives. For his series “Carte,” Tagliavini built wooden clothing and frames around his human subjects to devise life-sized playing cards. This technique creates tension between the two-dimensional quality of the playing cards and the life-like attributes of his distinctive characters, such as their protruding collarbones and rosy cheeks. Some of the eleven photographs further complicate the viewer’s sense of perspective with subtle gestures. In “La Matta Nera,” the stoic, smoky-eyed woman folds her black painted fingernails over the cutout frame, shaking the viewer’s belief in the image’s flatness. In this way, Tagliavini’s playing cards invite a sense of playful interaction. Their perspectival ambiguity and hints at mythological symbols serve as reminders to be more tactful and observant, especially when playing games of chance.
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Though she is known for her work in fashion photography, the fine art photography of the Madrid-based 
Photographing porcelain figures the moment they hit the ground, Martin Klimas injects a sense of motion and chaos into an otherwise stationary object. The artist has taken a similar approach to photographing a moment of impact with bullets zipping through vases. For the figures, Klimas says that “the porcelain statuette bursting into pieces isn't what really captures the attention; the fascination lies in the genesis of a dynamic figure that seems to stop/pause the time and make time visible itself.”
At first glance,