Synesthesia Garden
< a weird art + style blog >

Dear readers and connoisseurs of the bizarrely beautiful, welcome to   SYNESTHESIA GARDEN.
Here you will find paeans to all varieties of dark, surreal, odd, and provocative contemporary art, style, and creativity.

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Latest Posts

  • Nimit Malavia
  • Hell House: The Art of Esao Andrews
  • Kashima Echo
  • Horror Artist Karl Persson
  • Shoko Fujimori

Blogs I Like

  • Acidolatte
  • Amanda Palmer
  • Arrested Motion
  • Baby Art Blog
  • BioRequiem
  • Blood Milk
  • Caves of Lilith
  • Coilhouse
  • Creep Machine
  • Destroyx
  • Doe Deere Blogazine
  • Ecrudust
  • Elizabeth May
  • Felice Fawn
  • Haute Macabre
  • Lisa Falzon
  • Lost Fish
  • Nomi Chi
  • Stuntkid
  • Stylenoir Magazine
  • Twisted Lamb
  • Ulorin Vex
  • Wicked Halo
  • Wurzeltod

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  • December 2011
  • November 2011
  • October 2011
  • September 2011
  • August 2011
  • July 2011
  • June 2011
  • May 2011
  • April 2011
  • March 2011
  • February 2011
  •    See full archives
  • Horror Artist Karl Persson

    01.18.12

    Karl Persson uses a glossy realism to depict horrific themes and evoke the un-plumbable depths of pain, madness, and misery.

    See more after the cut

    Tags: babies, biological/organic/alien, biomechanical, blood, colorful, dark, expressive, implied horror, madness, medical-themed, realism, surreal horror, visceral

    No Comments »  

  • Film Review: The Reflecting Skin

    12.18.11

    1990′s The Reflecting Skin, directed by Philip Ridley, is a weird movie and rather obscure. It’s very interesting, and quiet, bizarre, grotesque, over-the-top, and terribly beautiful, all at once. Visually, it’s amazing. The cinematography is gorgeous, very unforgettable. It has such atmosphere… Eerie, chilling, ominous, cryptic, ascetic yet lush. Admittedly some of the acting is just god-awful (especially the child actors!), but the movie overall is kind of brilliant. Destined to be thought terrible and intolerable by many, I loved it. It is quite possibly the movie that most embodies an “American Gothic” quality/aesthetic, a haunting sense of desolation and hopelessness, mirrored by the land, and a hypocritical, unforgiving puritanism.

    Taking place in rural America in the 1950s (whose landscape of yellow wheat fields and desolate, isolated, gray wood frame houses standing in the midst of them is shot very impressively and gorgeously), The Reflecting Skin is, sort of, about child abuse, innocence, imagination, death, mortality, and love. The main character is a young boy named Seth Dove who creates an elaborate fantasy around a mysterious, otherworldly-seeming English widow who lives nearby, believing her to be a vampire who is preying on his loved ones. I suppose it’s partly about the unimaginable innocence of youth… Instead of registering and owning a sense of evil in the world, Seth displaces it onto this mysterious figure, a source of external, supernatural evil, thus allowing him not to understand these strange, horrific, traumatic events around him.

    The “vampire,” pale, regal, and obsessive, is such a strange, lovely, macabre, spectral, enigmatic character, with the most absolutely haunting speeches, remote yet intense, vehement, and unnerving meditations on aging and love. Icily menacing yet alluring, preternaturally quiet with sudden outbursts of piercing, violent, grotesque, deeply primal, forlorn emotion, mercurial as a madwoman, she was played pretty much to perfection by Lindsay Duncan. She should be an iconic figure, in my opinion.

    This movie is fascinating, and even if you end up not liking it, you should definitely see it. The cinematography alone is worth it.

    The entirety of the film (from the Japanese DVD) is up on YouTube.

    Tags: 1950s, abuse, bizarre, children, cryptic, dark, film reviews, fragility, hauntingly beautiful, innocence, innocence/menace, macabre, metaphors, puritanical, religion, sexuality, strange beauty, surreal, surreal horror, trailers, vampires, visceral, witchy

    No Comments »  

  • Fuyuko Matsui

    06.11.11

    See more after the cut

    Tags: (twists on) traditional art, edo-period japan, exposed anatomy, ghosts, macabre, surreal horror

    No Comments »  

  • Nicole Absher

    03.29.11

    Nicole Absher is a very, very talented young artist who produces beautiful, stark, and highly detailed drawings that are dark and provocative, lush with torment made almost palpable by her gorgeous strokes, nightmarish visions mirroring self-image and the eerie lucidity of pain.

    See more after the cut

    Tags: dark, hauntingly beautiful, nicole absher, realism, surreal horror

    No Comments »  

  • Digital Horror: The Stunningly Beautiful Art of Karina Marandjian

    12.01.10

    See more after the cut

    Tags: bloodmilk, emotive, fleshy, hooks, karina marandjian, moths, nails, photomanipulation, pierced, red and white, self-portraits, surreal horror, torture, trauma

    1 Comment »  

  • “Immune”: Floria Sigismondi

    11.28.10

    Floria Sigismondi is an Italian-Canadian photographer, director, and filmmaker who breaks the boundaries between mainstream and alternative visual culture. She has worked with many high-profile artists on their music videos, including Björk, The Cure, Marilyn Manson, and The White Stripes. Her personal projects and commercial work both amaze me with their preternatural beauty and color.

    Floria’s vivid, hallucinatory images are morbid, beautiful, and hyper[sur]real. Her works take place in a strange, artificial, and gorgeously colorful world of her own – film stills from her videos could be taken for photo-art and vice versa.

    See more after the cut

    Tags: floria sigismondi, medical-themed, music videos, otherworldly photography, religious imagery, saturated color, self-portraits, surreal horror, virgin mary

    No Comments »  

  • Short Film: “Embrio”

    11.15.10

    Embrio is an experimental short film made entirely by Jean-Sébastien Monzani (story, direction, film, & music), with amazing acting by Stéphanie Schneider.

    What draws me to Embrio is its quality of implicit horror, conveyed through the actor’s subtle, ever-changing expressions (she really is the heart of the movie) and the eerie, intense, atmospheric soundtrack. Sans a conventional narrative, Embrio explores the compulsions, fixations, obsessions, and psychological reactions of a young woman, and, though very well-composed, it also has a rawness, depicting naked sensations and emotions with all the vagueness and ambiguity of good psychological horror – all within a clean, bright, well-lit, nearly sterile environment. It draws us deeply, physically, into the experience of the woman, and gets under our skin.

    Tags: experimental, psychological horror, short films, surreal horror

    No Comments »  

  • Two Trailers

    11.12.10

    A seductive trailer for Vaticinio that draws you in with lullaby softness, seemingly gravity-defying dance, and a horror edge. I thought it was a trailer for a movie initially, but it’s actually for a theatrical performance that took place last month in Cordoba, Argentina.

    This is the teaser trailer for a short film, The Continuing and Lamentable Saga of the Suicide Brothers, which creates a quirky, enchanting, ethereal, and retro-tastic world with an interesting mix of live action and CGI. Available on iTunes. I also love Keira Knightley’s otherworldly appearance as the fairy near the end.

    Tags: dance, homage to silent film, modern fairy tales, otherworldly, retro, short films, surreal horror, theater, trailers

    No Comments »  

  • Reddened Mouths, White Masks, Hungry Fingers

    10.29.10

    These are ever-so-creepy installation artworks by Israeli sculptor Ronit Baranga
    (via Acidolatte):

    Tags: conceptual, installation art, masks, sculptures, surreal horror, teacups

    No Comments »  

  • Pedro Pires’ “Danse Macabre”

    10.11.10

    This is the trailer for a short film, Danse Macabre, directed by Pedro Pires and released last year, which I’d love to see sometime.


    Tags: short films, surreal horror

    No Comments »  

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“Creativity is the only relative freedom we have in this world.”  — Vania Zouravliov