≡ Brendan Ko: I must really love this ≡

nine-eleven-final© Brendan George Ko, Nine eleven (Detection), from the series We Soon Be Night, 2011-13.

hoodlumz© Brendan George Ko, Hoodlumz (New Tribe), from the series We Soon Be Night, 2011-13.

intervention© Brendan George Ko, United, from the series We Soon Be Night, 2011-13.

product_placement© Brendan George Ko, Product Placement (Malthusian Catastrophe), from the series We Soon Be Night, 2011-13.

o.b.e© Brendan George KoOuter Body Experience (Shaman), from the series We Soon Be Night, 2011-13.

allseeing© Brendan George Ko, Allseeing (Eye of Providence), from the series We Soon Be Night, 2011-13.

vampiric_empire© Brendan George Ko, Vampiric Empire (Preachers of Death), from the series We Soon Be Night, 2011-13.

shadowfigure© Brendan George Ko, Shadow Figure, from the series We Soon Be Night, 2011-13.

Wanting to showcase Brendan George Ko‘s work We Soon Be Night! I realized it would be the third post about him. A first in this site (if I’m not mistaken). Doing it anyway and recommending (at least) a visit to his website.

Brendan’s statement about this project:

“The phantom continues…

The walls of time and space collapse and take on a formless entity that is able to drift through our sense of memory. In a landscape that holds a specific memory —often intense moments of hard-boiled emotion and grand tragedy, the human psyche is turned and provoked. There is an index that exists between the planes of reality in which we can see and feel.

In a time of cinematic Armageddon, endless documents of natural disaster and environmental shifts, and ancient wisdom foretelling of the Apocalypse, belief is not a necessary vehicle into a dry sense of doom. The future has always been uncertain but certain events have shifted the priority of this feeling into the foreground —it is all around us now. It has escaped its prison of our memory and has manifested itself into the medium.

Tracing my memory I look back to find the origin of this sense of uncertainty towards the future, this sense of, what’s going to happen next? and holding a pejorative view towards the future. We Soon Be Nigh! starts off at the birthplace of this phantom of doom and continues to reference both the past and the future, in visual storytelling that is both documentation and construction.”

And a text from his blog published on October 3rd, 2012:

“Contemplating the photograph, one which is based out of a constructed practice of image-making and another based out of an obsession to document experience traveling through the world and the everyday. How they relate to each other besides from being born out of the same author is that they are both seen as documents to me. The snapshot comes out of an obsession to document my everyday in order to expand but also complete my memory (which in turn can never be complete since the camera is flawed in perspective, the decision to photograph, and that the still frame is always, inherently out of context (without a beginning or an ending and within a frame)). The constructed image which is staged is an afterthought of a moment, or a collection of moments and is a contemplation of the significance of a particular memory, a feeling, and an idea. Where the snapshot is flawed in its aesthetics of being rough, out-of-focus, motion blur, mixed light sources, on-camera flash, and perhaps not the right focal length, the constructed image which comes from after the moment has passed is perfected in how the moment appears as a memory. The flaw of the constructed image is that it isn’t the moment that it is referencing and therefore is not real. The argument I propose here is that what is real? Reality is subjective, especially in a world that is divided by a social construction of reality which is in conflict with personal reality, one which is born from biographical experience.

I start my collection of images with a morning scene in a living room and in the center of the frame is a television set. It is large unlike the television sets of today and is more furniture than an illuminated wall-mounted painting, and has become a piece of the domestic landscape, having photos, VHS tapes, and ornaments on top of it. The television has the image of a CNN broadcast of two planes crashing into the World Trade Center buildings. The room itself has a smoky atmosphere, dim with a bright world outside. And though the photograph is completely staged it is as real as my memory of that moment is. And since the moment has passed I cannot return to that morning of September 11, 2001, where I woke up for school, and my parents readily themselves for their day jobs as they watched the television. Having just woke up there was a disorientating feeling when my parents tried to update me on what they had known from what they were given by the fanatic behavior of the broadcaster not knowing himself what had exactly happened other than the fact that one commercial airliner had crashed into the financial epicenter of the nation.

The photograph of the staged living room with a television playing a pre-recorded image strikes the viewer with not a question of is this image real but recalls their own memory of that moment. Even though it had been made ten years after reference point that image is still clear in the viewers mind, and what I claim to be as the clearest collective experience and image in recent memory. And this is evident in the effect of the viewer when they see this image they are able to place themselves within the context of the image, recalling what they were doing that day and even how they felt. This scene is not real, it is not the living room I had while I lived in Houston during the 9/11 attacks nor is it the viewers. It is a generic representation of a collective experience.

An event seen through the camera’s lens, then broadcast, and then seen through the television set we are perceiving an image out of context, through the frames of the camera, but ultimately through the ideology behind that broadcasting network. Just as reality television differs from network to network, with TLC’s obsession with abnormalities in our culture (ranging from conjoined twins, hoarding, large volume immediate families, and gypsies) to MTV’s youth in conflict with reinforcement of stereotypes of college kids, Italian-American middle class youth, washed-out celebrities struggling with drug addiction and the public eye, these ideologies differ but are all part of multi-faceted ideology of a culture at whole. Even though we are given the choice of view, from CNN’s more liberal approach to Fox News’ conservative view, both operate under the same system. They are all representing reality within a specific cultural and regional ideology. And this broadcast reality is not providing the lived experience but the simulation of it. Through studying history we experience the Vietnam War as much as we experience youth drinking in a hot tub by the Jersey Shore or what it is to live in a house full of boxes and too many cats (some being lost or dead hidden away in some dark corner). There is this remoteness that separates us from the moment’s true experience to a controlled and simulated experience. Cinema isn’t far from this simulated experience of the real as it often depicts real events through a singular perspective. Its heightening of the event is theatrical and relies on aesthetics, staging, and performance to create believability. It places the viewer in a controlled environment of the cinema, a temple or cave-like setting that instructs the viewer to sit and to pay attention to the center piece, the silver screen in this case, and slowly dissolves the reality outside of the room for one which possess a flicker of motion and the omnipresence soundtrack. And for two hours what is presented in front of our eyes is believed as a temporal reality, we start to interpellate ourselves into the characters and develop emotional connections as we start to “know” the characters, their scenarios, and the environments that surround them.

Rather than focusing on what is in focus, I would like to contemplate not the characters of the narrative but what is in the background. The background actor’s role is to be there, to camouflage itself to the background and to be commonly found object in the environment, such as trees in the forest. In a sense they are a kinetic background like graffiti jumping from the walls and possessing life. What they are meant to not possess is individuality, they are a mass of many, and are more caricature than character. In the contemplation of the background actor being a walking, breathing, and living background is to observed and brought into the foreground, –they now hold our conscious attention. Through observation they often create error to the simulated reality of cinema, as they are not necessarily trained professionals such as the main characters, but they are often real people there for volume and aesthetics. Occasionally a background actor can be seen doing a cycling movement that repeats in a shot, or they accidental or purposely look into the lens which gives way to the existence of a camera as our viewing point. And in some cases the background actors are real people that are untrained and are not volunteering to be background actors but are simply there in a real environment that is being used to represent one that is constructed. It is in these cases that the control of the filmmaker is removed and there are elements of the real the conflict with the simulation through comparison. The so-called, Fourth Wall, is breached and in these minor and often hidden nuances bring into question where the audience is. It is a lucid experience but rather gaining control one realizes the lack of control over the narrative.

In further contemplation of the background actor is questioning what they represent. If they are appointed to be a mass of many and are not to have individuality such as the characters of the narrative then they are representations. It is in their attention or rather their lack of attention that they fall back to a role, and this role being that of “type”. They are performing in the subconscious space of the film and are playing out roles based off of their appearance. There isn’t any introduction to the background actor and their character, they simply appear there in front of us on the screen, –the word, “front”, does not define their position within the planes of existence in the film. They are neither background as they are not affixed such as a wall of a building or a tree in a forest nor are they in same the plane as the characters of the narrative. If they are neither back nor fore then where are they?

They exist in the simulacrum removed from reality and exist as a sort of transparent being in the cinematic reality. Art directors in their pursuit to maintain the background actor in the background make them as real as possible, –the realer the less the contradiction is apparent to the viewer. The word seamless is an ideal description of their aesthetics but being as this is film their actions also must be as real to the viewer and as convenient to the filmmaker as their aesthetics. One could not imagine having to train individually each background actor to perform a specific role but rather an instruction via a megaphone addressing a mass or a second or third A.D. directing singular groups of background actors to perform a specific task. These task ranging anywhere from walking across the scene, to appearing to be reading, or talking amongst themselves set in a cycle. For example a background actor instructed to walk across the scene will perform this task identically for each take. Or a group of background actors dancing in a circle and to no rhythm in particular. The more real their everyday actions are the less apparent they become. They existence on an invisible plane which is right before us but we dismiss them from our attention as the individual is lost to volume and the volume is lost to representation of a representation. For what the background actor represents is a stereotype, a generality of a specific group of people”

≡ ‘Has the Düsseldorf School killed photography?’, he asks ≡



Professional Photographer editor Grant Scott popped the question and it stayed with me, not only because it is a very catchy headline for an article, as the author notes, but because his reflection resonated with me.

As I understand it, Scott’s main issue with the Düsseldorf School relates to its heritage not its conquests. The Bechers’ pupils, namely Thomas Stuth, Thomas Ruff, Candida Höfer, Axel Hütte, Laurenz Berges and Andreas Gursky (to name only a few) all gave (and still give!) original and groundbreaking contributions to expand the range of languages one could apply to photography. Struth’s family portraits were innovative in the way he managed to portrait, with a non-theatrical approach, the dynamics between the group, while having them stare at the camera; Ruff’s portraits set the tone for contemporary portraiture and highlighted how the surface of things and the particularities of a person’s face, can grab one’s attention and “hurt” us in many ways; Höfer’s majestic interiors changed the field of architectural photography and highlight her singular approach to natural light as a way to comment on the atmosphere and emotional landscape of each location; Gursky’s large scale depictions of human consumerism and megalomaniac mentality are impressive not only for their appearance but also because of the process and commitment they entail; Sasse’s relationship to color is one-of-a-kind and his photographs of public and private spaces should be taught in every photography classroom.

It’s true that while some of them kept their original perspective and reflection upon the medium, some just kept applying the formula, but what Scott means by the alleged murder is that they “offered” an easy way out to any photography-student-wannabe-conceptual-artist who chooses to lean on the formula of the ‘project-as-serial-work’. This way the task gets simplified: one chooses the subject and the location and then repeats the framing with a distant and seemingly objective eye.

Although I agree with this immediate analysis, for I recognize that this is a problem both in the amateur as in the professional milieu, with major influence on the way photography students approach their subjects, what resonates less with me is Scott’s cynical tone:

I wander off and create an image that I shall call Shopping trolley in supermarket car park on a grey day, or Einkaufswagen im Supermarkt Parkplatz an einem Grauen Tag. It’s not quite as snappy as New Objectivity but it is observationally descriptive and has the all-important element of transformation to verify it. It may just be the Asda car park, but when translated into German it becomes one of a series of images which combine to become a personal exploration of environmental documentation. There we have it: a picture easy and cheap to take, some words to support why I took it and a German title. I am now a disciple of Becher and if my work is criticised I will quote the Bechers’ teaching and their followers’ success.I am now a New Objectivity photographer. I am in a comfort zone.

Scott says he’s fed up with all the supposed neutrality and emotionless conceptual approach, from portraits to deserted landscapes, as I am too, but overall what one misses is originality, and that has always been a problem in every art discipline. So the issue might be that the stage for the so-called ‘artistic photography’ these days is huge, and it’s expected that we have to go through a pile of unoriginal and uncreative work before we find something worth looking at.

Full article HERE.


portraits_88_22portraits_88_15portraits_88_16all images © Thomas Ruff, from the series Portraits, circa 1988.


The Lingwood & Hamlyn family, London, UK, 2001© Thomas Struth, The Lingwood & Hamlyn family, London, UK, from the series Family Portraits, 2001.

TS-3© Thomas Struth, The Falletti Family, Florence, from the series Family Portraits, 2005.

The Felsenfeld, Gold Families, Philadelphia, 2007© Thomas Struth, The Felsenfeld, Gold Families, Philadelphia, from the series Family Portraits, 2007.


Wiblingen-Abbey, Germany© Candida Höfer, Wiblingen-Abbey, Germany.

Casa Musica Porto V, 2006© Candida Höfer, Casa da Música, Porto, 2006.

IB_S_BASIC_COPYRIGHT =© Candida Höfer, Cuvillés Theater, München, 2009.


Paris, Montparnasse 1993© Andreas Gursky, Paris, Montparnasse, 1993.

Chicago, Board of Trade II 1999 by Andreas Gursky born 1955© Andreas Gursky, Chicago, Board of Trade II, 1999.

Kamiokande, 2007© Andreas Gursky, Kamiokande, 2007.


P-91-02-02, Düsseldorf 1991© Jörg Sasse, P-91-02-02, Düsseldorf, from the series Public Spaces, 1991.

W-93-07-01, Marburg 1993© Jörg Sasse, W-93-07-01, Marburg, from the series Private Spaces, 1993.

W-92-06-01, Pelm 1992© Jörg Sasse, W-92-06-01, Pelm, from the series Private Spaces, 1992.


HUETTE 033-A© Axel Hütte, Mandalay 1, Las Vegas, USA, 2003.

Portrait #26, Germany from the series Water Reflections, 2007© Axel Hütte, Portrait #26, Germany from the series Water Reflections, 2007.

Passo Sella, Italy from the series New Mountains, 2012© Axel Hütte, Passo Sella, Italy from the series New Mountains, 2012.


Erevan - Artashat© Ursula Schulz-Dornburg, Erevan – Artashat, from the series Bus Stops, Armenia., 1997-2011.

Erevan, Yegnward© Ursula Schulz-Dornburg, Erevan, Yegnward, from the series Bus Stops, Armenia., 1997-2011.

Gymri, Spitak, 2002© Ursula Schulz-Dornburg, Gymri, Spitak, from the series Bus Stops, Armenia., 1997-2011.


Altenburg, 1992© Laurenz Berges, Altenburg, 1992.

Wünsdorf II, 1994© Laurenz Berges, Wünsdorf II, 1994.

Hannover, 2005 (# 2282)© Laurenz Berges, Hannover, 2005.

٠ Reina’s Altered States ٠

43_at002© Francisco Reina, from the project Altered States

43_at007© Francisco Reina, from the project Altered States

43_at011© Francisco Reina, from the project Altered States

43_at014© Francisco Reina, from the project Altered States

A minimum amount of truth is necessary to justify the communication of any kind of information. To tell the truth is often very difficult and even when a lie is told by omission of certain information can result in an accusation of being guilty of hiding the truth. Additionally, manipulation can be defined as the act of representing something false as real, a negative as positive, a degradation as beneficial.

In every society there is a general need to achieve both economic and political power and when these two forces come together to rule the State, manipulation is implemented to turn people into subjects, potential voters or consumers. Some of the political and commercial strategies are very familiar with this strategy of manipulation and are constantly focused on supplying society with enough sensuality to keep the citizens´ animal sensitivity alive. The most well known form of manipulation is lie.

Current society would not exist if people did not have reciprocal trust. Manipulated language can be received with confidence and good faith and eventually people may be guided not by the truth, but by the manipulator´s intentions. Therefore, each of these manipulations is a lie servicing the social realm.

The picture of the world that is constantly being shown to us has nothing to do with reality because the truth about every single event is buried under a mountain of lies. This system has reached extraordinary success at creating a dissuasion from the menace of democracy and what is really interesting is that this has been achieved under the banner of “freedom”. Reina’s statement
“From all illusions the most dangerous one consists in thinking that there is only one reality”
Paul Watzlawick

25_absence-001© Francisco Reina, from the project Absence

25_absence-007© Francisco Reina, from the project Absence

25_absence-008© Francisco Reina, from the project Absence

With Absence we venture into the forest. […] A place where man abandons all his beliefs, yielding to the uncertainty of destiny. Here, the notion of a forest, as a part of a landscape, ambiguously stands for two separate things at once. It is, on the one hand, a particular physical place and, on the other, it is a figurative representation, a construct of the mind in which the dreams and desires that have made their way inside are participants. Here we are offered an actual forest. This is where our fears, hopes, and desires are hidden. It is a world in which the idea of presence turns absence into a corporeal being.

Absence has now become a black mass whose human or animal silhouette warns us of the real possibility of our desires materializing in one form or another. We are left with the possibility of deciding whether what we see is, was, or will be what we are seeing. Hence, the relation between man and forest is cast within a long running story “a story of looks” in which spectator and scene are directly related and where the subject’s gaze helps to construct the landscape lying right before his or her eyes.Reina’s statement

More from Francisco’s work here

٠ 21st century food styling ٠

8075500939_6ed8c56764_z© Henry Hargreaves, in collaboration with chef/stylist Caitlin Levin, from the series Mark Rice-Ko.

8075500639_b4b0fb31e9_z© Henry Hargreaves, in collaboration with chef/stylist Caitlin Levin, from the series Mark Rice-Ko.

SarahAnneWard_2© Sarah Anne Ward, in collaboration with food stylist Heather Meldrom, Pollock-rice krispie treats

SarahAnneWard_4© Sarah Anne Ward, in collaboration with food stylist Heather Meldrom, Mondrian-jello jigglers 

Catherine_Losing_Gourmand_Still_life_OCT© Catherine Losing, from the series The Serpent That Ate Its Own Tail

Catherine_Losing_Gourmand_Still_life_PUD© Catherine Losing, from the series The Serpent That Ate Its Own Tail

Catherine_Losing_Gourmand_Still_life_UV© Catherine Losing, from the series The Serpent That Ate Its Own Tail

parliament© Hong Yi (Red), Day 26, from the series 31 days of Food Creativity. Made of Tang orange powder dissolved in water.

squid© Hong Yi (Red), Day 12, from the series 31 days of Food Creativity. Made from squid and squid ink.

lant2© Alexander Crispin, LANTMÄNNEN

Lant-3© Alexander Crispin, LANTMÄNNEN

09_strawberrieschocolate_900© David Schwen, from the series Food Art Pairings

01_ketchupmustard_900© David Schwen, from the series Food Art Pairings

07_baconeggs_900© David Schwen, from the series Food Art Pairings


sandy_skoglund_2© Sandy Skoglund

Sung_Yeonju© Sung Yeonju, Banana, from the Wearable Food series

Matt-Walford4© Matt Walford, flatbed food

Matt-Walford5© Matt Walford, flatbed food

┐ Emile Barret – photography as an experience └

72_magnet3-3© Emile Barret, from the series Magnet3

72_magnet3-6© Emile Barret, from the series Magnet3

73_4x5foie-1© Emile Barret, from the series La Vanité est un Plaisir des Reins

73_barretemile11© Emile Barret, from the series La Vanité est un Plaisir des Reins

50_semainebloc4© Emile Barret, from the series La Disparition

50_semainebloc2© Emile Barret, from the series La Disparition

This MAN’s work is such a breath of fresh air I don’t even know which of his works not to post. Emile’s website here

┐ Hannah Villiger (1951-1997) └

© Hannah Villiger, Untitled, 1980 – C-print from Polaroid

© Hannah Villiger, Sculptural, 1993

© Hannah Villiger, Untitled, 1980/81 – 12 C-prints of polaroids

“When trying to describe physical feelings of any kind, we find ourselves shortchanged by language. I arrived at this conclusion after several, always hopelessly crude attempts to describe
fundamental moments in Hannah Villiger’s oeuvre. The public-at-large is quite capable of registering feelings of repulsion or extreme empathy when blood flows in the movies, when some-one is cut or surgery is performed, or when faced with eroticism, vertigo on a lookout tower or sports—all points on a scale that are clearly designated and defined. But in between lie immense micro-regions, dead lands, where words fail. This is the territory that Hannah Villiger explores. With a well-honed consciousness she masterfully negotiates the overall system of obstruction (of hindrance and enfeeblement). When communication is constantly kept in check, metaphor comes to the rescue. Perhaps this is why Hannah Villiger’s work seems so womanly and so strong.
It is conceivable that the vertigo caused by verticals (at the edge of the abyss) has a gentle partner in horizontals. A kind of window feeling. When it is very intense, you feel it in your nostrils, your ears, your chest or (in connection with speed) your bottom. The fixed point is not the abyss but the horizon. When I was a child and we went for a drive on Sundays, I would sit in the backseat and imagine—especially in fast curves—that I was riding a bicycle because I was never given one. Hannah Villiger can do it without a bicycle. That’s what I have to think of when I see her photographs of gushing water, swift birds or colliding boccie balls. And there is also the mute, squat airship, suspended in the sky, or the burning palm leaf thrown into the air. Here pleasurable and extremely subtle use is made of the potential of empathy, which in turn makes us aware of our own potential and position as part of a greater whole.
Hannah Villiger’s much enlarged color Polaroids no longer record the vehemence of directly transmitted physical sensations; they have quieted down. “He had teeth like luxury hotels on the beach in Florida and when he closed his mouth, there was a big scar.” (Laurie Anderson) These color photographs, usually one meter square, gradually turn into boxes the longer you look at them. Boxes into which you poke your head very, very slowly without noticing, because the pull is so gentle. And damp fog, pointed palm leaves, skin or gazes brush against us, passing by. But there are also pictures whose energy is directed outwards, pictures that radiate, so that we already notice from afar that we are being kept at bay. These are the cold pictures, like the eye with a razor-sharp gaze. Once you have stood in front of them, you know that the format of these photographs is incontestable.
Sometimes the subject matter of a picture ignites feelings; other times it is a vessel or a catchment for them. In memory such distinctions are often utterly irrelevant. For this reason, Hannah Villiger’s wooden or plexiglas objects crop up again in her photo works. Is Hannah Villiger the fog creeping around the mountain, or is the fog enveloping her? Movement back and forth, sudden clashes and leaps, simultaneous flowing and flying flit through Hannah Villiger’s work until a compact whole emerges—like her name HANNAH…” HANNAH and the Horizon, by Bice Curiger

more of Hannah‘s work here

┐ roots & fruits #11 – Tiago Casanova └

© Tiago Casanova, all Untitled, from the project The Unknown Island

“The airplane begins to descend. Madeira is down there. From far we can understand the feeling that the fifteenth century discoverers had when they saw Madeira (= Wood) for the first time, and from there we can easily guess the origin of the name. An intensive tropical vegetation fills and covers the island of green, but I cannot help but noticing the various urban clusters, scattered houses, roads and highways and the megalomaniac construction of the new airport. The constructed confronts the natural on a dual mode. Large scars are open, but the consummation of the act makes the built elements part of the landscape. This new landscape causes both fascination and disbelief and it is as beautiful as ugly. (…)”

09/11/11 – (1st Day) – *Excerpt and Polaroids from my Travel Diary do Madeira Island

To see more of Tiago‘s work go here

┐ roots & fruits #6 – Rui Dias Monteiro └

© Rui Dias Monteiro, Untitled, from Figure in the Landscape, 2011

© Rui Dias Monteiro, Untitled, from Caia Caía, 2011

© Rui Dias Monteiro, Untitled, from Figure in the Landscape, 2011

© Rui Dias Monteiro, Untitled, from O Sabor da Casca, 2009

More of Rui’s work here and here

┐ roots & fruits #5 – Tito Mouraz └

© Tito Mouraz, Untitled, from the series Leitura(s)

© Tito Mouraz, Untitled, from the series Leitura(s)

© Tito Mouraz, Untitled, from the series Finally, No One

© Tito Mouraz, Untitled, from the series Finally, No One

“There has been, since ever, an almost innate obsession for space and its domain through the most varied forms and ways. This domain goes several times beyond intended expectations, such as, self-control that we could or should have about something to which we call “place”, where things happen, grow and bloom, since space is, in its entire definition, more genuine, original and infinite.
When we think about space, our reminiscence bring us immediately for a certain “place” where this can or not evoke good memories, passed situations or even situations/circumstances that might be about to happen.
It is, in these spaces, that the most diverse “objects” emerge or stanch, creating some kind of symbiosis between these two phenomenons. These “objects” many times create and have the gift to give life to spaces through an almost divine force that overlaps to some other thing.
It is clear that this tendency has two sides, on one hand, we have the filling of space through the “object” that occupies its place, metamorphosing what it would be an original landscape (shall we say) and on the other hand, we have the filling of that same place with aberrations that time decided to abandon and live it at drift.
Although these fillings could be considered ambiguous, it is necessary to regard that the beauty of things is in its essence, and frequently, an old van in a putrefaction state in the middle of a ravine can have its beauty, although not everybody agrees with that.
In this way, these are the questions of the presented project, the insertion of perfectly banal “objects” from the common day, incorporated in a space that beside being for everyone, it won a captive place in the soul of the represented “object”, as if, and in a natural way, embraces and creates since the beginning an almost inseparable bond with its own landscape.
Is this real? Or is this the purest of the falsehoods? I cannot find the answer for this question. The most probable is the existence of an alliance that allows a harmony between the two exposed perspectives.
As it can be verified here in the images presented, the spaces can be only constituted for the space itself, trying in this way, to establish one relation between this same space and the notion of the evolving emptiness for itself, even knowing or perceiving that the emptiness acquires a characteristic almost apparent, because it cannot, several times, link to reality as it is known. Therefore, there are two questions which we consider fundamental: the question of the inserted space, such as in time, as in “place”, and the question of time inserted and modified with the presence of an inanimate “object” that is or belonged to everyday life, but that now represents in all is fullness, the magnitude of the presence that is inserted in the same space.”

The author

More of Tito’s work here

┐ roots & fruits #4 – João Varela └

© João Varela, Untitled, from de Toerist

© João Varela, Untitled, from de Toerist

© João Varela, Untitled, from de Toerist

© João Varela, Untitled, from de Toerist

“De Toerist came about in November 2010 when I went to study at AKV|St.Joost in Breda, Netherlands.

As I arrived there, the weather was really different than the one that I was used to. This was one of the many difficulties that I had among others such as renting a house, language barrier and the adaptation to the classes.

With all of these feelings coming to me, I always felt like a tourist and never a proper dutch. So I decided to document the first two months of my journey in the Netherlands. I began to photograph small, not-so-important things that I stumbled on, always with a saying by german photographer Wolfgang Tillmans in my head: If one thing matters, everything matters. Week after week I photographed what I came across, what caught my eye and the situations that I thought were the key to tell my story.

From the approached themes, I must highlight the ones that have particular importance to my project as I was obceced photographing them: the big windows that unveil the private life of dutch people, the various trips I made within the region and the school space that I photographed in order to have a remembrance to the future and also to identify myself with her. Some of my inspirations through this process were the photographs of Stephen Shore, William Eggleston and Robert Frank. They were my references on the approach to the subject, or even on the subject choose.

The title arose from a photo of a building that I was constantly passing by when I was doing my daily circuit: home-school-home. This was like a methaphore to me, because I really felt like a tourist.”

More of João’s work here

┐ Rachel Bee Porter └

© Rachel Bee Porter, #2, from Subzero

© Rachel Bee Porter, #10 (Lemon Meringue Cake with Key lime Tartlets and Margaritas on the rocks), from he Joy of Cooking

© Rachel Bee Porter, #3 (Blackberry Pie), from Wallflowers

“Having grown up reading a multitude of home and lifestyle magazines, my work confronts the expectations that developed from buying into the alluring photographic fantasies of the pristine and perfect domestic life. I devoured every issue of Martha Stewart Living that I could find. Drawn in by the beautiful eye-catching photographs, I absorbed all of the tips, tricks and how-tos in those pages because I was convinced that I would need them someday.

Using the skills that I learned from years of reading these magazines, I bake elaborate cakes which I then throw into carefully constructed scenes and photograph the aftermath. By appropriating the lush, brightly colored imagery of magazines and perverting it, I explore the aftermath of unfulfilled expectations.

This disillusionment manifests itself in a playful, yet irreverent defiance. I subvert the delicately crafted trompe l’oeils found in commercial and editorial photography by corrupting domestic strategies. Through the intermingling of creation and destruction, I explore the reality beyond the glossy varnish and the destructive consequences of disappointment.

Using a cross-disciplinary approach that combines aspects of performance, sculpture, and painting, I create colorful domestic scenarios that serve as the stage for my actions. I photograph these scenes using a 4×5 camera. Afterwards, I scan the film and create large-scale digital c-prints. My work is an ironic commentary on the picture-perfect world created in the glossy pages of lifestyle magazines and the frustration that ensues from trying to attain it.”

more of Rachel’s work here