“The central theme that unites all my paintings examines how seemingly separate and isolated life experiences actually disguise the extent of our individual and communal bonds. The “masks” and the accompanying identities we all assume depending on the life role we must play obstructs the conscious mind from acknowledging what truly unites us through the isolation and chaos: our shared encounters of pain, loss, desire, and longing for serenity and acceptance. The false facades we all manufacture to adapt and belong also renders most blind and lost in a world where the meaningless has somehow become meaningful and the idea of a shared honest self devoid of hidden agendas all too infrequent.
I focus on combining traditional oil painting techniques with surrealist symbolism to communicate the immediate and lasting impact of technological innovations on the human body and psyche. One recurring motif in my paintings often appears as the feminine form bearing the burdens of worldly grief and mistakes on her body bowing in resignation to a seemingly inevitable fate: the acquiescence of the corporeal state to the encroaching dominance of modern technologies conjoining itself like an apathetic demon of silicon and circuitry cursing more than fulfilling promises of beauty and comfort.”
via [Supersonic Electronic]
Can you tell which are the real girls and which are the sex dolls?
“Hiroshi Watanabe was born in Sapporo, Japan. He graduated from Department of Photography, College of Art, at Nihon University in 1975. He moved to Los Angeles after graduation and became involved in the production of TV commercials, eventually working as a producer. He later established his own production company and produced numerous commercials. He received an MBA degree from UCLA Business School in 1993. In 1995 his passion for photography rekindled, and since then he has traveled worldwide extensively, photographing what he finds intriguing at that moment and place. In 2000 he closed the production company in order to devote himself entirely to the art and became a full time photographer.”
via [500 Photographers]
“The games we play as children are rehearsals for the roles we play in life. Traditional toys for girls nurture homemaker stereotypes, simulating traditional domestic roles through play. In these photographs, I am exploring the possibility of the same staging taking place with the prolific, but publicly hidden occupation of prostitution. By constructing these scenes in miniature, I project representations of the sex industry onto the medium of the conventional dollhouse. As polar opposites, the homemaker and the sex worker are highly constructed and restrictive roles, the most deeply-rooted myths of the feminine.
Pieced together from many sources of representation these constructed spaces can be peered-into and examined.”
Eisen is an emerging photography-based artist from Toronto, Canada.
“This work is about dreams, love and the desire to battle loneliness and isolation from society. I want to capture the horror, emotional tension and hidden beauty that can be found in these individual exiles. Lost souls who crave ever lasting love. When someone’s life is void of this, memories and dreams are held onto the dearest. This series pays homage to these important moments. Memories of longing are held for safe keeping, in which there are visual contrasts between the real and the surreal. It is often this world that borders on fiction that keeps us searching for love and happiness throughout the rest of our lives.”
Victor Cobo was born in 1971, and is a Spanish-American photographer who is based in New York. Cobo is a self-taught photographer, and was fired from his first job after he finished college for being caught with inappropriate photographs he had taken on the streets. His works exude a sense of rawness and reality in their depiction of the object, and his series, Remember When You Loved Me, captures the feelings of isolation, loneliness, and melancholia in every slice. His latest series, Behind The Smoke Colored Curtain, depicts similarly edgy, gritty photographs in black and white.
Just a quote I loved from a framed article that was part of the exhibition:
“There is a graffito I want to tell you about”, he said, “on an upstairs wall. It is in Spanish. Someone has left a Pompeii flower for New York. It says this: con venir suenos para escapar. It means ‘with dreams come escape’.” – Guy Trebay
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