Ryan Duffin is a young photo student currently attending Parsons who’s work recently caught my eye and I needed to share. It’s hard to pinpoint what his style is, I mean, the word that comes to my mind is “surreal”, but I don’t think that’s quite right.
His photos capture abstract still lifes that feature these interesting pairing that usually have super intense colors which really make you stop and take notice. There’s also a mundanity to the pieces, like the dirty Evian bottle above, but they’re lit like fine art, like something of a really high value. This contrast exists in a lot of his newest work and the juxtaposition is definitely something to take note of.
Alan Taylor runs In Focus, a special section of The Atlantic which looks at topics and events through large, beautiful photos. Last week he had a special feature on modernist architect Eero Saarinen, who helped bring a sense of futurism to a world of cookie cutter buildings. The feature is a series of 44 images which shows the range and talent of Saarinen, from his work on the Saint Louis Gateway Arch to the Trans World Airlines Terminal at John F. Kennedy Airport.
I’m a big fan of Hilda Grahnat’s work. The Swedish photographer, stylist and designer keeps a beautiful blog which is filled with the types of images that make you want to quit your job, run away to Sweden and simply spend your days surrounded by beautiful vintage furniture and retro antiques.
Her portfolio is also home to many wonderful pieces of work; one such project is this fantastic series called ‘Vintage by Colour’. Here she brings together a selection of interesting items and groups them together to create wonderful color groupings. It’s a simple idea, but the resulting work is just a joy to see.
It’s something special when a photographer can take a typically dull object and turn it into something beautiful. That’s exactly what photographer Daniel Evans has done here with a series of photographs of everyday plastic bags. For me, Evans’ work is simple and uncomplicated but it’s also utterly brilliant.
Taking the bag and shooting it against a plain colored background, he manages to find beauty simply with the use of light and color. It’s almost magical how he turns something so mundane into something that looks so special. The use of pinks and powder blues are just perfect and the finished work is minimal but visually arresting. I love it!
Anothermountainman (Stanley Wong) is a Hong Kong artist, photographer and designer. He is best known for his redwhiteblue series which are installations, 3D pieces, or posters made out of the common red, white and blue plastic bags people in Hong Kong typically use to hold cargo. Coming from a background in advertising and television, Wong has become known as a fine artist over the past ten years and is now recognized as one of Hong Kong’s best.
Wong has all the hallmarks of a successful artist—shows in international galleries, numerous awards and inclusion in museum collections—yet he describes what he does as primarily being about connecting with people. In an interview with Time Out HK he says, “I’m attempting to communicate with the public through the platform of art. I see myself as both a social worker and a missionary; I don’t see myself as an artist.” To further these goals, he is involved in design education, gives guest lectures, and, as a scholar of Buddhism, seeks to share his hope for world harmony. What I think is apparent in his work without any prior knowledge of his motivations is a desire to record compelling aspects of society and to comment on human nature.
One of his projects that strikes me as particularly powerful is Lanwei. The first character of “lanwei” means broken and the second means tail. Together they mean unfinished; something that has fallen short of completion; started and couldn’t be brought to an end. It is a personal photography series that documents abandoned residences, offices, theme parks and other half-built projects across Asia. The properties he chose to photograph were not just incomplete architectural structures but came with stories of sudden disruption. Most of the commercial buildings were begun in the 1980′s when Asia hit an economic boom before companies realized that there wasn’t enough money to finish what they’d started. The amusement park in Beijing that features in a large portion of the series was abandoned when the child who it was built for died.
Lanwei itself almost became a story of lanwei. Wong had the concept in his head for 5 years before starting it in 2006. He then worked on it infrequently for the next 6 years and completed it in 2012 with a show at Blindspot galleries. He has said that the realization of this project came about shortly before the Chinese government started removing unused property. The evidence of incompletion was about to disappear before he could document its presence.
Much of his past work is on his website and is well worth exploring and diving into. Most projects come with a short poetic description written by Wong (originally in Cantonese with English translation). Besides having frequent exhibitions, I like that he also makes time to pursue ideas that interest him outside of his regular work. Wong most recently had an installation called Show Flat 04 at the Singapore Biennale.