⁞ How Kalen Hollomon’s collages reflect the general confusion about the core of a subversive attitude ⁞

Trying to make a point with digital cut and paste, here are excerpts of reviews and interviews with collage artist Kalen Hollomon, accompanied by images of his playful work. © Kalen Hollomon © Kalen Hollomon NYMAG: […] Hollomon claims it’s … Continue reading ⁞ How Kalen Hollomon’s collages reflect the general confusion about the core of a subversive attitude ⁞

┐ Vilma Pimenoff └

© Vilma Pimenoff, Untitled (figures-left + beings-right), from The Dark Collection © Vilma Pimenoff, Untitled (beings), from The Dark Collection © Vilma Pimenoff, Untitled, from the series Demoiselles de Paris “Pierce called indexical the process of signification (semiosis) in which the signifier is bound to the referent not by a social convention ( = “symbol”), not necessarily by some similarity ( = “icon”), but by an actual contiguity or connection in the world: the lightning is the index of the storm. In this sense, film and photography are close to each other, both are prints of real objects, prints left … Continue reading ┐ Vilma Pimenoff └

┐ Gemma Marmalade └

© Gemma Marmalade, from the series Animals, 2008 © Gemma Marmalade, from the series Animals, 2008 “Animal is a series of photographic portraits of a woman Gemma met on an internet dating/networking website in 2006. Without knowing anything of the artist or her motivations to make contact, the woman engaged in sending photographs of herself via mobile phone, some erotic, some banal. Over a period of nearly two years, the artist received 69 pictures before contacting Jane. Fascinated by her character and the disclosure that she used the offer of contact as an “anonymous online confessional”, Gemma learnt that she, … Continue reading ┐ Gemma Marmalade └

║ Deborah Paauwe ║

© Deborah Paauwe, Broken Melody, from the series The Crying Room, 2006 © Deborah Paauwe, Crimson Autograph, from the series Double Dutch, 2002 “Deborah Paauwe’s imagery circulates between art photography and erotica as the artist seduces and assaults the gaze. Paauwe engages with a labyrinthine gaze that Lacan charts as a map full of traps and misrecognitions In this series of photographs the artist accentuates the screen aspects of the Lacanian gaze, framing this quite literally for the viewer by using a veil to shroud and figures. The body is seen through a screen of translucent material, enticing the voyeuristic … Continue reading ║ Deborah Paauwe ║