٠ Chez Evgenia Arbugaeva ٠

05-2tumblr_lymw9kKYuW1qehbvvo6_12806-2283019-2Arbugaeva_E-10Evgenia Arbugaeva, all photographs from the series Tiksi

Q: When you returned to your hometown of Tiksi, you developed a relationship with a girl, Tanya, who became your guide. Tanya must have brought up emotions ranging from sorrow at confronting a vanished world to exultation at finding a subject and friend who was on the same wavelength that you had been as a child. How do you think these feelings shaped your coverage of this place and what do you think these images capture and say to the viewer?

A: I’ve heard different impressions about this project – some people feel sad because they see this almost abandoned village on the edge of the world, some feel the whimsical playful mood and it makes them smile.
For me this project was a chance to see Tiksi with the awe of a child, through Tanya’s eyes in the present and my memories of the past. I felt a strong urgency to be there. I wanted to be naive and playful – let myself be free and just wander around the tundra, make wishes under the Aurora Borealis, hoping that they will come true, to have long conversations with Uncle Vanya in his little hut on the shore of the ocean.
I think that every story I work on is there because it is needed at that particular phase of my life. My connection with Tanya is not a coincidence. I believe that thoughts and wishes can materialize, perhaps it’s a little too much of a metaphysical approach. However, I knew that when I went to Tiksi something very special would happen there. I was awaiting some kind of miracle. When I met Tanya, I was sure that she would become the key to understanding what I was there for.

excerpt from an interview in the context of her winning the Leica Oskar Barnack Award 201. More here.

┐ 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

┐ Will Jennings └

© Will Jennings, Untitled, from the series Tumbling Blocks, 2011

“As an intuitive response to the sudden death of my mother last summer I walked down the Suffolk coast, reconsidering the landscape of my childhood through the eyes of an adult, mourner and artist.

Concrete cubes sporadically emerged along the route, sole man-made interjections in a landscape of permanent flux. As I walked through fog they offered perspective, their staccato rhythm implied passing time, their angular form suggested a grid and attempted rationalisation of chaotic, uncontrollable nature.

I read the cubes as monolithic stelae. Blank vessels into which I store memories, emotions and idea – vessels as fallible as both body and mind, also falling prey to the forces of nature and time.” Will‘s statement

more of Will’s work here

┐ Adad Hannah └

© Adad Hannah, Safari #2, from the project Safari, 2011

“Safari is a collaboration between film director Denys Arcand and artist Adad Hannah produced for the exhibition Big Bang, which celebrates the Montreal Museum of Fine Arts’ 150th Anniversary and the opening of a new pavilion.
The set for Safari is the Safari Seating Environment designed by the Florence based Archizoom Associati in 1968 and produced by Poltronova. Archizoom was founded by a group of architects and designers in 1966 and dissolved in 1974.
Arcand and Hannah developed a 7-minute scene that takes place in the back of a nightclub in the middle of the 1980’s. The scene revolves around the Safari Seating Environment, its sleek white sides and leopard print covered seats providing the stage for the set of actions performed on it. The actors featured in Safari are all employees of the museum with no formal acting training. After workshopping the scene for two days Arcand and Hannah shot the same 7-minute sequence from six different angles. Each actor had a set trajectory, performing certain actions at a set place in the timeline and remaining as still as possible the rest of the time. The result is a staccato and haunting recording of a single scene performed over and over for the camera.”

© Adad Hannah, Lunge, from the project Traces, 2010

“In 2007, Michelle Jacques, assistant curator at the Art Gallery of Ontario, contacted me about creating a new project for Toronto’s Nuit Blanche. I proposed taking over Toronto’s oldest jazz bar, The Rex, to create a temporal shift by staging possible localized histories within the aging interior. The project was called Traces. Several weeks before the one night event I shot a series of over twenty videos of tableaux vivants arranged around the patchwork of tables that make up the sprawling bar. During Nuit Blanche the videos were shown in the very location where they were made, creating a dialogue between photography, video, and performance. The installation lasted from 7pm on the night of September 29th, 2007 until 7am the next morning. This selection includes four photographic details as well as four autonomous videos.”

Two Views, Installation with 2 HD videos, 2 plasma screens, 2 stuffed birds, 2 wooden crates, acrylic paint, and other materials. Installed at DAÏMÕN / AXENÉO7, Gatineau, 2011

“Making a self-contained project that integrates both the artwork and the production of the artwork is something I have been working towards for a while. I am interested in the way video and photography bridge index and fiction, the here and now and the same place at a slightly different time.
The two crates each contain everything needed for the installation, the windows, the branch with the stuffed bird, the plasma screen, the wooden stands, the costumes, the book the model is holding, and the media player used to play the video. The videos were shot inside the same crates they are then exhibited on – the plasma screen simply replacing the camera.”

More of Adad’s work here

┐ Kirsten Hoving └

© Kirsten Hoving, Birth of the star system, from the series Night Wanderers, 2010

© Kirsten Hoving, Music of the Spheres, from the series Night Wanderers, 2010

© Kirsten Hoving, Orion, the Hunter, from the series Night Wanderers, 2010

© Kirsten Hoving, Cassiopeia, from the series Night Wanderers, 2010

“Night Wanderers is a series of photographs envisioning the cosmos. I photograph objects and nineteenth-century photographs frozen in or placed under disks of ice to create the feeling of galactic swirls of stars, galaxies and spiral nebulae.

For this series, I have been influenced not by the work of other photographers, but by the collage and assemblage art of the American artist Joseph Cornell. In the course of writing an art historical book on the artist, Joseph Cornell and Astronomy: A Case for the Stars (Princeton University Press, 2009), I became aware of the artist’s deep and abiding interest in astronomy. I also came to understand his creative process, which involved juxtaposing objects in often unexpected ways. His working method encouraged me to take risks, to experiment, and to be willing to destroy one object to create another. He also taught me to appreciate the stars.

Using ice as a still life object is always a challenging process. I partially thaw the ice to create transparent and translucent areas, then work quickly to photograph it. While I choose objects and photographs that recall earlier times (an outdated globe, old cartes-de-visite) to help remind us that star light is old light, the ice that encases them underscores the elegance and fragility of our place in the universe.” Kirsten’s statement

More of Kirsten’s work here

This work made me think of Laura Marling‘s Night Terror, so here it is:

┐ roots & fruits #7 – Inês Beja └

© Inês Beja, The Roaring

© Inês Beja, Untitled #3, from the series Jumping at Shadows

Inês is a chameleon or, as she puts it, a shape-shifter. From my point of view what she is now is a creative force: obsessive, eager to learn, aiming for the perfect tool, the perfect dress, the perfect light, the perfect shot. I believe these are arguments enough to keep an eye on her and see where all this passion (borderline destructive force?) can take her.

Her work made me think of a written piece of work, so instead of dragging on parallels between her work and that of self-portrayed women in the history of photography, here it is:

“(…)The initial idea that images contributed to women’s alienation from their bodies and from their sexuality, with an attendant hope of liberation and recuperation, gave way to theories of representation as symptom and signifier of the way problems posed by sexual difference under patriarchy could be displaced onto the feminine.(…)and while feminist critics turned to popular culture to analyse these meanings, artists turned to theory, juxtaposing images and ideas, to negate dominant meanings and,slowly and polemically, to invent different ones.

(…)The juxtaposition begins to refer to a ‘surface-ness’, so that nostalgia begins to dissolve into unease.An overinsistence on surface starts to suggest that it might be masking something or other that should be hidden from sight, and a hint of another space starts to lurk inside a too plausible facade.(…)The sense of surface now resides, not in the female figure’s attempt to save her face in a masquerade of femininity, but in the model’s subordination to, and imbrication with, the texture of the photographic medium itself.

(…)For Freud, fetishism is particularly significant (apart, that is, from his view that it ‘confirmed the castration complex’) as a demonstration that the psyche can sustain incompatible ideas, at one and the same time,through a process of disavowal. Fetishistic disavowal acknowledges the possibility of castration (represented by the female, penis-less, genital)and simultaneously denies it. Freud saw the coexistence of these two contradictory ideas, maintained in a single psyche, as a model for the ego’s relation to reality: the ‘splitting of the ego’, which allowed two parallel, but opposed, attitudes to be maintained in uneasy balance.(…) This ‘oscillation effect’ is important to postmodernism. The viewer looks, recognizes a style, doubts, does a double take, then recognizes that the style is a citation, and meanings shift and change their reference like shifting perceptions of perspective from an optical illusion.

excerpt from Laura Mulvey’s article A Phantasmagoria of the Female Body: The Work of Cindy Sherman

Inês’s portraits can be seen here

┐ Daniel Evans & Brendan Baker └

© Daniel Evans & Brendan Baker, from the series Sleeping Through an Earthquake, India, 2011

© Daniel Evans & Brendan Baker, from the series Sleeping Through an Earthquake, India, 2011

© Daniel Evans & Brendan Baker, from the series Sleeping Through an Earthquake, India, 2011

© Daniel Evans & Brendan Baker, from the series Sleeping Through an Earthquake, India, 2011

© Daniel Evans & Brendan Baker, from the series Sleeping Through an Earthquake, India, 2011

More of this work here

┐ Helga Härenstam └

© Helga Härenstam, The Gap, from the series The Society, 2006-2008

© Helga Härenstam, Jesus, from the series The Society, 2006-2008

The Society is a fictious documentary, trough which Helga Härenstam has been looking for and/or constructing environments, scenes and events, that are based on memories from the small society where she grew up. The people photographed in these series are Härenstam herself, her family and other people that she is close to.

The series is a puzzle of pictures dealing with the borders between documentary and staged, the real and the unreal and the past and the present. The title The Society, is inspired by a place, where Helga Härenstam partly grew up. This place does have a name, but is simply called ”the society”. Härenstam found the ambiguousness of the word society interesting though it refers to a context of world politics and states that shut in and shut out citizens depending on where they are considered to belong. At the same time it refers to this small community, which basically functions in the same way, just on a minor scale.

The Society tells several stories about growing up in a rural area that slowly becomes abandoned. A transitional place is formed between the past and the present ways of how the society functions and between the past and the present way ones memory functions.


more of Helga’s work here

┐ Igor Grubić └

© Igor Grubić, from the project Angels with dirty Faces, 2006

© Igor Grubić, from the project Angels with dirty Faces, 2006

“Igor Grubic’s Angels with Dirty Faces is a photographic and video-based work that draws on an historic incident that happened in Belgrade in 2000. That October, the Kolubara miners staged a strike that eventually brought down the Miloševi´c regime, and sparked the end of socialism in Yugoslavia. At the time, the Kolubara mine was the largest supplier of lignite coal in Serbia, producing almost half of the country’s electricity. The strike was thus extremely important and the miners could use their leverage to influence the political situation in the country – perhaps one of the last occurrences of true social change effected through the political self-empowerment of workers. The work consists of a documentary video with footage of the strike and the demonstrations, and a series of photographs inspired by the archetypal figure of the heroic worker, glorified throughout the Eastern bloc during the socialist era. Against the backdrop of decommissioned factories or industrial sites, they are portrayed sporting painted wings. The work is directly inspired by Wim Wenders’s 1987 film Wings of Desire, in which angels descend to earth to comfort mortals in distress. Combining the hard pragmatism of mining, labour and syndicalism and the soft power of art, poetry and surrealist leaps of the imagination, it recalls a utopian moment in time.”

Manifesta9 press, by KG

┐ Lauren E. Simonutti └

© Lauren E. Simonutti, Manny and Josephine, 1999

Lauren passed away this April. An homage would be irrelevant compared to what she set off to uncover and offers us. Thank you for the enlightenment! A must see, hear and feel that reminds me of David Nebreda’s work, more than anything else due to the relation the author establishes with the work.

Madness strips things down to their core. It takes everything and in exchange offers only more madness, and the occasional ability to see things that are not there….The problem with madness is that you can feel it coming but when you tell people you think you are going crazy they do not believe you. It is too distant a concept. Too melodramatic. You don’t believe it yourself until you have fallen so quickly and so far that your fingernails are the only thing holding you up, balanced with your feet dangling on either side of a narrow fence with your heart and mind directly over center, so that when you do fall it will split you in two. And split equally. So there’s not even a stronger side left to win…..Over three and one half years I have spent alone amidst these 8 rooms, 7 mirrors, 6 clocks, 2 minds and 199 panes of glass. And this is what I saw here. This is what I learned.

Lauren’s statement

More of Lauren’s work at Catherine Edelman Gallery

┐ Carrie May Weems └

© Carrie May Weems, Untitled, from African Jewels, 2009

© Carrie May Weems, Untitled, from African Jewels, 2009

installation view from African Jewels, 2009

Carrie’s web home here

┐ Ting Cheng └

@ Ting Cheng, Icy Yoga Lesson, 2012

@ Ting Cheng, Where is my home, 2009

excerpt from an interview by Alexandra Plesner, from Dazed Digital

Dazed Digital: Your images give the impression of a dreamer, trying to escape this asylum called life. Why does this concept fascinate you so much?
Ting Cheng: As human beings, we learn from playing, we gain experience through trying. While I am not particularly good at planning, I am the queen of playing and trying. Inside the game, we are the controller. We press and release. We continuously select and restart, trying to break through the barriers that we encounter. The game will never be over, because despite all the set-backs that we’re facing, we will always continue playing and seeking those little victories. I indeed wish I could transform myself from a traveller, an outsider and a dreamer into a present experience maker.

DD: What was your first passion and how does this passion manifest itself today?
Ting Cheng: Being an outsider is really essential for me. It is the main inspiration for my work. The feeling of alienation urges me to step aside from my own body. It drives me to express this inner desire of exploring and discovering.

DD: What does photography mean to you?
Ting Cheng: I am a day dreamer and a visual thinker, so I turn to photography to communicate my feelings, thoughts, dreams and desires. I use photography to expose and document the absurdity and oddness of everyday life. Photography for me, is almost a way to prove my very existence. It is a way to escape from an ordinary and mundane reality, replacing it with a new reality.

DD: To look at your picture gives hope that the door to fairyland actually exists. How important is escaping reality for you personally and as a professional?
Ting Cheng: The image of the world has existed within our consciousness and cognition. If I am not satisfied with the reality I find myself in, I can reorder and reshape the map of the world through my imagination. Even more, I can build up a new reality. My work gives me an alternative to rethink and question the possibility of space and the relationship between our bodies and the objects that surround me.

More of Ting’s work here

┐ Neeta Madahar └

@ Neeta Madahar, Sustenance #95, 2003

@ Neeta Madahar, Sustenance #97, 2003

“Neeta Madahar’s subjects in Sustenance are quite ordinary—ordinary birds like finches, cardinals and blue jays. Her setting, too, is ordinary—her Boston backyard. But what makes this British artist’s work extraordinary is the sense of wonder and magic she
creates despite these unexceptional circumstances. It was this push-pull of opposing forces—the ordinary and the extraordinary, the quotidian and the fantastic—that drew me into this stunning collection of fourteen photographs.
Birds are the perfect symbol for duality. They simultaneously belong to two worlds: Air and Land (and sometimes Water). In mythology, they are at times harbingers of evil and death—woodpecker tapping on a house brings bad news, peacock feathers prevent babies from being born—and at other times, they are signs of good luck and renewal—a wren building a nest near your house brings good luck, birds’ arrival marks the beginning of Spring.
Birds are a brilliant metaphor for our new world, a new way to define home: birds fly and migrate yet they also nest and are from a certain region. Neeta Madahar’s Sustenance embodies a world that is located neither here nor there, but one that exists in a hyphenated space—one that allows for multiplicities, one in which we can perhaps all feel at home. I know I did.”

excerpt from the article Hyphen-Nation: The Search for Home in Neeta Madahar’s Sustenance, by Anar Ali. Continue reading here

More of Neeta’s work here and here

┐ Taiyo Onorato & Nico Krebs └

@ Taiyo Onorato & Nico Krebs, untitled, from the seriesLight of other days, 2009


@ Taiyo Onorato & Nico Krebs, untitled, from the seriesLight of other days, 2009


In “End of an Era” Onorato and Krebs continue to explore the nature of perception, a theme that also distinguishes their most well-known photographic series to date, “The Great Unreal,” produced during their travels through the US. Their illusionistic visual universes and installations thrive on the interplay between the visible and invisible nature of illusion and the encounter of reality and the imagination.
The exhibited photographs and installations reflect the ambivalent role of photography on one hand as a documentary medium used to depict reality and on the other hand as an artistic instrument for the creation of new, dream-like imaginary worlds. The exhibition title “End of an Era” refers to the value of analogue image production, the end of which is constantly being prophesied, particularly since the demise of the pioneer of photography, Kodak.(…)

from here

Their work, very much worth exploring, can be found here

┐ Elise Victoria Louise Windsor └

@ Elise Victoria Louise Windsor, untitled, from the series mise en abyme

@ Elise Victoria Louise Windsor, untitled, from the series mise en abyme

“A champion of minimalism, visual artist Elise Windsor creates optical illusions that truly captivate the eye. Her three bodies of work leave you wondering: “How did she do that?” Without breaking any vows of secrecy (she’s an artist, dammit, not a magician) Elise reveals that all of her photographs are manipulated on-site: the result of origami, sculptures and mirrors.


With me it’s all about in-camera versus digital manipulation. So all of the shots with mirrors I didn’t have to Photoshop the camera out. That’s just how I set it up and that’s how it’s meant to be viewed. Before I used to be super rigid, like I thought “Okay, I need to read this kind of paper, I need to go to the library, I need to do all these things”. But then I realized that it’s good to sort of work organically as well. Sometimes my intention doesn’t come through but I’ll still get a photo that I really love. I always have some sort of idea so that everything I do is constructed.”

by Layton Wu, in OTM zine

More of Elise’s work here

┐ Muga Miyahara └

© Yuki Onodera, Muga Miyahara, Increase, from the series Tokonoma

© Yuki Onodera, Muga Miyahara, Fear, from the series Tokonoma

“Japan photographer Muga Miyahara’s interpretation of tradition is most noteworthy in his works titled “Tokonoma”. The term refers to a built-in recessed space in a typical Japanese house, usually decorated with a calligraphic or pictorial scroll and an Ikebana flower arrangement. In Miyahara’s vision the Tokonoma becomes a stage presenting a cornucopia of different objects, inviting the viewer to explore a variety of ideas and thoughts. Although the arrangements are zen-like, very pure and simple, they have the effect of disturbing the viewer rather than expressing serenity and tranquillity. A lonely artificial leg, an empty shirt on strings, or knives hanging from the ceiling. Everyone can discover the invisible layers behind the objects for himself. The picture of three bombers and an ascending explosion cloud can – apart from obvious associations with war, air raids and nuclear attacks – be the starting point for various reflections about violence.”

source: voicer

More of Muga’s work here

┐ Ananda Serné └

© Ananda Serné, Untitled

© Ananda Serné, Untitled

Sometimes I see images in my head and then I draw them, but only with the intention to make a photo later. I almost never take a photo spontaneously.

Ananda’s site here

┐ Samuel Fosso └

© Samuel Fosso,La Bourgeoise, From the Series TA, 2007

© Samuel Fosso, Self-Portrait (as Liberated American Woman of the ’70s), 2007

“In every photograph the beautiful Fosso is subject, object and creator. Occasionally he includes other people, but their posture and placement relegates them to a secondary position. In one stagy, understated and slightly bizarre image, for example, Fosso, in large sunglasses autographs a book for an anonymous man, who inclines deferentially towards him. In other photographs, like an indifferent, latter-day and urbanised Narcissus, he’s pictured sitting or standing with himself through the magic of a double exposure. The shallow depth of the studio is transformed with flowers, cane furniture and patterned cloth into a parody of a genteel boudoir. Unlike Narcissus, however, it’s impossible to separate the reflected Fosso from the original – like a happily married couple, one ‘self’ co-habits comfortably with the other. It’s interesting to compare these double images with 19th- and early 20th-century ‘before-and-after conversion’ double-portrait photographs distributed by European missionaries as proof of their ‘civilising’ influence on various African colonies. Fosso’s playful fragmentation of the self-portrait creates a clever counterpoint to the continent’s history of photographic colonialism, a form of aesthetic Euro-centrism, which reduced indigenous cultural and social complexities to convenient one-liners.


Fosso’s combination of a secretive, almost child-like delight in dressing up, doubling and role playing, reiterates the idea that the self is somehow more than simply the sum of one’s more obvious parts. The mocking, secretive self-consciousness, and restless self-absorption of adolescence represented in these images makes them extraordinarily compelling. It’s this exploration of the slippage between personality and type, disguise and displacement that links his work to many of the theoretical and aesthetic issues that concerned photographers in the late 70s and 80s – Cindy Sherman’s ‘Untitled Film Stills’ series, made at around the same time, most obviously springs to mind. Her work has a similarly anti-naturalistic, theatrical quality, that is more about the anticipation, or creation, of meaning than it is about the stating of concrete truths. Photography for both Fosso and Sherman is a medium they can trust to reflect reality’s vicissitudes precisely because they know how appropriately fallible, how malleable it can be.”

excerpt from article by Jennifer Higgie

┐ Chen Wei └

© Chen Wei, Broken Aquarium, from the series Everyday, Scenery and Props, 2009

© Chen Wei, Idol behind the curtains, from the series Everyday, Scenery and Props, 2009

“The photography/installation works of 31-year old artist Chen Wei illustrate an intricate imagination fascinated with the eccentric and fanciful pursuits of early science, mathematics, alchemy, philosophers and madmen. Taxidermy, broken mirrors, melted wax, bats, bees, deserted bedrooms, and found objects become the artist’s tableau. With a meticulous attention to details, Chen Wei creates mesmerizing scenes that leave the viewer puzzled by their intricate narrative, fantastic visual impact and odd beauty. In some of the works, the sole human subject resembles an absorbed mad scientist or passionate poet, adding feelings of isolation or estrangement to an already bizarre scene.
read more
Chen Wei’s creative and contemplative process consists of searching for and compiling myriad fragments of personal memories, and incorporating inspiration and objects from childhood or fantasies imagined juxtaposed with realities found in modern China. Most of the works are sketched and created on location in the artist’s studio and then photographed, with the end result being less about the camera process as it is about the assembly of the elaborate elements that are captured in his works. The spirit and style of Chen Wei’s photography works also point towards a new generation of emerging Chinese artists born in the 1980’s who are less focused on political history or obvious social criticisms than personal and intellectual freedoms and the individual’s place in a now modern and developed China. History for them has been obscured by economic and social reforms, and the speed and scale of development is the contemporary China they have witnessed.”

source: m97 Gallery

His place here

┐ Kevin Van Aelst └

I don’t usually post on photographers whose work is being highlighted by other photography bloggers, since people who visit this place are often the same. I like to offer something else, and for that I trust my own parallel research. There are times like this when I shred that “rule” to pieces given the impact the work has on me. Here’s Kevin’s work, found in Lenscratch

© Kevin Van Aelst, Tragedies, 2009

© Kevin Van Aelst, Cemetery, 2010

Artist Kevin Van Aelst is not one to cry over spilled milk. More likely, Van Aelst has “spilled” the milk himself and is diligently coaxing the white drops into a semblance of order. Van Aelst’s specialty is something he calls “conceptual photography.” His large color prints are treats for the eye; Van Aelst’s strong design sense is garnering him increasing commercial work. But what engages Van Aelst more than the act of photography is the play of ideas and their realization in visual form.
“Something very important to me is the idea of randomness, taking something that should be random and applying a very specific order to it,” says Van Aelst.
“If conceptual art didn’t exist, I wouldn’t have any interest in making art. I respond much more to ideas than purely visual things,” Van Aelst says. His overarching idea is the use of everyday objects and materials to illustrate and represent more profound concepts. Milk spills in a logarithmic spiral. Gummy worms represent human chromosomes and gummy bears make up the periodic table. Hair in the bottom of a sink is arranged in the graph of a human heartbeat. An Oreo cookie’s cream filling is cut away to reveal the yin yang symbol.
Hearkening back to his undergraduate studies in psychology, Van Aelst recalls that he took classes in cognition and perception – how people view stimuli differently. Much of his work operates on two levels of perception, the conceptual and the material. Referring to his photograph “Periodic Table of the Elements,” now part of the permanent collection of the Wadsworth Atheneum, Van Aelst has found there is the viewer “who sees gummy bears and has to read the title to see the periodic table and (the viewer) who sees the periodic table and has to get real close to see that they’re gummy bears.”

source: article by Hank Hoffman

More of his work here