Christy Lee Rogers: Reckless Unbound

 

Before you start yelling Photoshop, just know that photographer Christy Lee Rogers is not associated with the image enhancement program. Blurring the lines between photography and painting, Rogers’ work are beautifully warm examples of what a camera can do when stretched to its limits. Produced in water and at night, Rogers photographs her subjects at night as they are submerged in the waters of Hawaii. Channeling the Baroque aesthetic with her images, the artist takes photography to a completely new level with her latest collection called Reckless Unbound. 

On show in Los Angeles and San Francisco later this year, Fault gives you a sneak peek at some of the images that will be exhibited from the Hawaiian born artist. Capturing reality in such a poetic way, Reckless Unbound transforms viewers to a near fantastical era, one where the ephemeral is as celebrated as life itself.

To see more of Christy Lee Rogers work visit her site here.

 

All images courtesy of Christy Lee Rogers

Post first published Apr 30, 2012 @ 6:00pm GMT

Elmgreen & Dragset Count Down to the End of the World with Their Latest Digital Artwork

The End Is Always Nearer, 2012 by Elmgreen & Dragset

To coincide with their Fall/Winter 2012 Garage Magazine cover and Louis Vuitton exhibition, Elmgreen & Dragset countdown to the end of the world with a digital limited edition of a brand new artwork sold exclusively through s[edition], an international platform for selling digital editions by the world’s leading contemporary artists.

The End Is Always Nearer, 2012 is the duo’s third collaboration with s[edition]. The artwork is a video that digitally countdowns beginning at 11.11. The artwork parodies the most well known doomsday date of modern time – the supposed end of the world at 11.11am Mexican time on 21.12.2012 according to the Mayan calendar. The date is presented as a timed bomb about to blow up a safe, but what is kept secure – or contained – and what will be revealed after the explosion, the artists leave us to speculate about. Elmgreen & Dragset said the following about the inspiration behind the edition:

We as human beings have at all times to try to do whatever we can to protect ourselves against potential catastrophes, and to protect what is valuable to us, however the ‘big disaster’ is always lurking around the corner.

The work is on sale as of today in an edition of 500 along with the continuation of s[edition]’s new dynamic pricing model. The End Is Always Nearer, 2012 started at £5 but has already increased to £8 minutes after its launch proving to be a popular work with collectors.

To own your own edition of the work visit s[edition] here

 

Image (c) Elmgreen & Dragset, courtesy of s[edition]

Herakut Head Stateside

If You Hate Me Live This Way, Don't Make Me Live This Way

German street art duo Herakut are opened their latest solo show today in San Francisco at 941 Geary this past Friday. The show entitled Loving the Exiled presents a new body of canvasses by the artists that examine a mythical relationship between humans and animals in a fantastical native world. Here are some of my favourite pieces in the show. The full show catalog can be seen on gallery’s site.

What A Stupid Gift

The Sooner All The Animals Are Extinct, The Sooner We Will Find Their Money

 

All Images courtesy of 941 Geary Gallery

 

Prada Reeks of Smoke

 

So which celebrity is going to try to pull off the new Prada Smoking Lip Sandal? My money is on Katy Perry – even though they scream “Drag Queen” from a mile away.

Paul Kwiatkowski: Voyeur with a “Shitty Camera” and a Love of Larry Clark

While the grunge look of the nineties may be all the rage on the runways this year, the era is also influencing the art world. With resurgence in weathered and muted photographs in fine and commercial art, it is no surprise artists inspired by the likes of neoprene, Kate Moss and a fuck you attitude are turning heads with their honest observations of seedy behavior, guilty pleasures and off kilter characters of society. Concentrating on various subcultures, this idea of this so-called “snapshot photography” has been around since the 1950’s evolving from social realistic imagery. Each decade saw artists embrace the genre as their own, putting their own contemporary twist on the aesthetic, yet sill capturing dynamic oddball subjects. From Diane Arbus and Garry Winograd to Larry Clark and Nan Goldin, the genre has evolved to include the culture of each time. In the continuous search to find new and interesting subjects, snapshot photographers are ironically finding a renewed place in society with their fringe subjects.

Following the path of these photographers, young artist Paul Kwiatkowski is blurring the lines between reality and fantasy by injecting his own voyeuristic perspective. Dabbling in fashion editorials Kwiatkowski is most known for his extremely intimate shots of subjects. Baring boobs, bum and crack habits, the young photographer allows his subjects to let go in front of the camera until he spots the perfect second to freeze frame the moment. Nothing is off limits in his photographs, creating a degree of unnerving intrigue for the viewer. Not one to shy away from shock and awe, Kwiatkowski is a photographer who clearly subscribes to the notion “the more fucked up the better.”

As most artists do, Kwiatkowski started off as just another media underling as a producer/editor for documentaries. After the company went under he lost his mind and decided to “find himself” using his unemployment checks to fund traveling around South America. After some bad twists and turns along the way, including a bus high-jacking in Ecuador, Kwiatkowski got his shit together and decided to follow the path of photography by telling his own story through images. “I love narrative work that shows a character that has gone through an event and come out altered, whether it be a bad acid trip or a formative event. Stories are the only way I can make sense of myself,” says Kwiatkowski.

At first glance, the photographer’s subject choices seem like an ironic statement on popular culture or a hot hipster with a nice ass and a coke habit, but Kwiatkowski is not your typical pervy portrait photographer. Describing his aesthetic as “refined crude,” Kwiatkowski subscribes to the Arbus and Clark school of photography, capturing his subjects in intimate and uncomfortable instances. “I like catching spontaneous moments of vulnerability or unease as much as I love connecting with the subject. As long as the resulting image comes out unexpected, I’m content,” says Kwiatkowski.

With reality shows, blogs Instagram and the further blurred line between reality and make-believe, the renewed interest in snapshot photography has moved into the digital age with people putting themselves on display. Kwiatkowski’s work may rebel against current trends and embrace the raw voyeurism in photographs of the 1960s and 1970s. The only thread that Kwiatkowski has between the two is the use of a “shitty camera.”

Using his shitty camera, Kwiatkowski has managed to create several projects chronicling fashion models to everyday people. His boldest endeavor to date is the release of And Every Day Was Overcast, a photographic essay of growing up in southern Florida. As a whole it is a reflection of Kwiatkowski’s own teenage years and his wrestle with loss, change, sex, drugs and friendships. Combining images and text, the book is Kwiatkowski’s first attempt at fusing the two in his work both technically and conceptually.  “I wasn’t interested in making an illustrated book but creating a world where photographic and literary story telling could gleam off one another to construct a narrative. We all have false memories. We only remember the last time we thought of something not the way we felt when it was actually happening. Our perceptions and realities change with hindsight,” says Kwiatkwowski of using the medium of photographic essay to tell his story.

To see more images from Paul Kwiatkowski and learn more about And Every Day Was Overcast visit http://paulkmedia.com/

 

All images by Paul Kwiatkowski

Parklife Festival Returns to Manchester

While Parklife might previously have been known as one of the standout albums from 90s poster boys Blur, people now associate the phrase with Manchester’s biggest music festival. Taking place from the 9th and 10th of June, Parklife Weekender boasts a dazzling array pop, indie, electro and crossover acts throughout the two day festival across six stages. Nearly sold out, tickets are going fast to catch the likes of The Flaming Lips, Noah & the Whale, Dizee Rascal, Labrinth and Kelis. The headline acts will be supported by The Rapture, (FAULT Issue 11 star) Ghostpoet, The Field, Crystal Castles, Django Django, Caspa and countless more. Continuing the tradition to bring back a blast from the past, De La Soul (don’t pretend you don’t know EVERY song) will be special guests on the main stage on the 10th. Add to that some truly exceptional DJ names and it’s pretty easy to see why Parklife has been such a huge success since taking over the Mad Ferret mantle. This year, Annie Mac and electro luminaries Justice are joined by the likes of  Fake Blood, Jaguar Skills, Gold Panda, Pendulum, Goldie, Busy P, 16 Bit and D/R/U/G/S. I’m sure we  don’t need to tell you that that lineup is pretty much a guarantee to keep you in a glorious music induced haze  for the full 48 hours…

This will be the final year at Platt Fields Park as the festival says goodbye to their two-year home. Outgrowing the fields, a new location has yet to be announced, but the promoters are keen to leave Fallowfield with a bang. Co-promoter Sam Kendal says, “Platt Fields provided a great start for The Parklife Weekender and we’ve been really grateful. In 2010 when Parklife was just an idea, it was really an unknown as to whether it would work. If we had known only three years on we would be moving onto a new site to develop and grow the festival to meet demand – it would have saved many sleepless nights! A new location is not yet confirmed but plans are in the pipeline. In the meantime we’re really looking forward to bidding farewell to Platt Fields in style.”

Look out for members of the FAULT team at Parklife 2012. The first three people to recognise us there will have the honour of buying us a beer.

Tickets for Parklife are £94.50 for a hospitality weekend ticket and £49.50 for a hospitality day ticket. The standard weekender pass is £64.50 while a day ticket is £38.50. Parklife will take place from 9th-10th of June at Platt Fields Park in Fallowfield, Manchester. For more information on the acts and box office info visit www.parklife.ticketline.co.uk

 

  

Interview with Robert Hope-Johnstone

Robert Hope-Johnstone

FAULT spoke with young artist Robert Hope-Johnstone about his work, what is like to be a young artist full time and the types of themes he sees emerging in the London art scene.

FAULT: Can you explain your medium and your working process?

Rob: Through all my choices of mediums I am a traditionalist, however dealing with contemporary concepts. I work primarily in charcoal on Bockingford paper where the granulated surface creates the effect of a digital bitmap or pointillist aesthetic on paper, and this is all drawn by hand.

F: Even though you work with various mediums, which are you drawn to most?

R: I allow the materials to work for me, and to feel confident in my choice of medium is very important. I enjoy using charcoal because I can use it to create ambient light and perpetual darkness.

F: What themes do you tackle within your work?

R: I deal with the sublime in a contemporary yet traditional manner, being interested in the forces of nature and terror. I see it as a question of self- reflection.

F: Which artists inspire your work?

R: Artists who have dealt with the sublime in the Turbine Hall of the Tate have intrigued me such as Miroslaw Balka, Anish Kapoor and Oalfur Eliasson. These artists have had a direct impact on the public.

F: As a young artist, do you feel you encounter more obstacles?

R: To be honest, coming to terms with being an artist as my chosen career has been my greatest obstacle. I didn’t want to see the study and career path of art as a short term ambition, I see it as a life long challenge and you will be tested throughout discovering what the subject means to you. At 23 I do feel young and I’m excited but eager to indulge in all factors of life and therefore I turn to literature such as the Marquis De Sade to create a broader understanding of life’s darker topics. (Not to personally indulge or re-enact but to broaden my knowledge of life.)

F: Where do you feel the art scene is heading in London? Do you see any patterns and themes emerging with young artists?

R: The Internet has had a huge impact in the creative visual output of today’s young artists. Blogging and re-blogging of images has become a resourceful research tool for the young contemporary artists. This however makes trends move incredibly quickly which can devalue the image but also creates a vast visual library that keeps young artists on their toes.

F: If you weren’t an artist, what career path would you be heading?

R: Creativity and self-expression have driven me to my career path. If I was doing anything else, in my eyes, it would be deemed a lie.