These eerie, alluring, adolescent life-size dolls were created for the theater/performance pieces collaborated on by writer Dennis Cooper and Gisèle Vienne since 2004. As Cooper says, “We consider the dolls to be actors in our works almost on a par with the human performers, and, although the dolls aren’t credited individually in the works, they each have names and fictional biographies constructed by Gisele. These biographies are used to determine which roles might be suited to their ‘personalities’. Some of the dolls have been featured in multiple works, and several have played both male and female roles.”
Take a look at these lovely images from the lookbook for Bevel‘s new collection of preternaturally beautiful jewelry.
These are a few of Midori Harima’s installations, made with Xeroxed images from a variety of sources, including magazines, books, and the Internet, which she crafted by sculpting the printed media on hollow structures, to create this eerie, flat, “3Dvs.2D” effect.
Winter Is Coming by Anja Millen
Taking cues from classical art (she is a self-confessed devotee of the Dutch master Vermeer), Korin Faught paints beautiful, realistic, and surreal portraits of women, in white dresses and Dutch caps, often in groups or interactions of enigmatic/symbolic meaning; a striking blend of the modern and the traditional, a balance between a crisp and precise style, and an expressive and sharply imaginative quality. I love the whiteness contrasted with the touch of melancholy to the atmosphere and the vague sense of twisted foreboding.
Tags: (twists on) traditional art, classicism, femininity, korin faught, mystical, photorealism, puritanical, realism, religious imagery, religious symbolism, sexuality, symbolism, twins/doppelgangers/doubles, virtuoso, white
Jana Brike currently has a solo exhibit at ArtHatch in Escondido, California. Titled The Book of Taboo, this lush white-dominated, pink-tinged series focuses on prepubescent, androgynous girls and boys with milk-white skin and cherubic features, and portrays the theme of (yep, you guessed it) corrupted innocence. Lurid and twisted sexuality, eerie and sinister surreal imagery combined with the sweetness and purity of the diminutive figures, gambol and play in these portraits of children suspended somewhere between childhood and adolescence, between innocence and depraved malice. Jana Brike explains the influences behind these paintings here.
Anouk Wipprecht is a Dutch fashion designer who works in the emerging field of “fashionable technology,” defined by Sabine Seymour as “the intersection of fashion, design, science, and technology.” Anouk seeks to create a “higher state of connectivity between the body and our clothing,” a physical and psychological relationship wherein what we wear responds to us, and we are also affected by what we wear, producing something more than just the traditional function of coverture/adornment. What results is one-of-a-kind, architectural, avant-garde garments with bold silhouettes, vested with circuitry and a regalia of plastic tubes and the ability to respond in a unique and remarkable way to human bodies.
Picture via Coilhouse
The Birds, an installation piece inspired by the Hitchcock film
Examples of Anouk Wipprecht’s “wearable tech” include Fragilis, a dress that eerily mimics the function of the human heart and veins through motion and lighting (similar to the Heartbeat Dress, which conversely uses sound, recording the heartbeat of the model and relaying it to the audience through speakers embedded in the dress):
Daredroid, a dress that “combines pneumatic technology with open-source hardware and human temperament to provide you with a freshly made White Russian cocktail”:
And Intimacy (a project headed by Daan Roosegaarde), a set of garments that become more or less transparent and opaque in relation to their proximity to each other:
An interesting interview with Anouk can be read over on Fashioning Technology.
About Frailty and Love by Sara Lazzeroni
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