Sonya Whitesnow and Mark Spouses come from Kirov, Russia and specialized in photography and Photo Manipulation. Working under the label of WhiteSnowStudio, they create amazing photographies and artistic projects. Here’s a selection of their work, including the latest serie created by the duet called Ice Cream. Always more to see on their website
Therese Öhrvall and Joel Jägerroos are a Swedish-Finnish photography team.
They live and work in New York City. The photographs of Therese + Joel are carefully constructed, inspired by early European Cinema, deploying characters in preconceived yet seemingly spontaneous poses and contexts, referencing to the aesthetics of directors such as Carl Theodor Dreyer and Ingmar Bergman. The play of natural and artificial light deployed by Therese + Joel highlights the control of their subjects, transcending into indefinite narratives. Therese + Joel’s work balances deliberately between fine art and fashion, as well as the concepts of horror and beauty. The work of Therese + Joel has been exhibited internationally, including The Georgia O'Keeffe Museum, Santa Fe, New Mexico, The Hermitage, St. Petersburg, Russia, Krasnoyarsk State Museum in Siberia, International Studio & Curatorial Program and FLOAT Gallery in New York City. Therese + Joel were selected as one of the 30 emerging photographers to watch in 2011 by Photo District News.
One of the most highly acclaimed contemporary artists from the Philippines, Ronald Ventura has garnered enormous international attention in recent years. He is noted for paintings featuring complex layering, combining images and styles raging from hyperrealism to cartoons and graffiti — as well as for a significant body of sculptural work.
He takes the layering process as a metaphor for the multifaceted national identity of the Philippines. Over the centuries, the profound influences of various occupying powers – Spain, Japan, and the United States – along with the underlying indigenous culture, have produced a complex and at times uneasy sense of identity. Ventura explores this historical and psychic phenomenon through a dialogue of images evoking East and West, high and low, old and young – seen, for example, in allusions to Old Master paintings or Japanese and American cartoons. He draws our attention to the “second skin” of cultural signifiers that each person carries with him, however unwittingly. Ventura views skin as an expressive surface – written on with tattoos, concealed under layers of imagery, or exploding outwards to reveal an inner world of fantasy and conflict.
Ventura now ranks among the leading artists of his generation in Southeast Asia. He presented his first US solo exhibition, Metaphysics of Skin, at Tyler Rollins Fine Art in September and October 2009. His much-anticipated second solo show with the gallery will take place in September and October 2011.
A few years back, Matt Doust was completing portraits using Biro pens, each work a feverish mass of black and blue layered lines. Forward to 2011 and the Perth artist is now creating enormous hyper-realistic oil portraits and was recently named a finalist in the Archibald Prize.
Doust’s portrait of model Gemma Ward was typical of his recent works, which feature dramatic darkened backgrounds and startling, often-confrontational facial features to capture a kind of otherworldly beauty which revels in the smallest imperfections.
Craig Redman and Karl Maier live on opposite sides of the world but collaborate daily to create bold work that is filled with simple messages executed in a thoughtful and often humorous way. They specialize in illustration, installation, typography, as well as character, editorial and pattern design.
Craig & Karl have exhibited across the world, most notably at the Musée de la Publicité, Louvre. They have worked on projects for clients like LVMH, Nike, Apple, Vogue, Microsoft, Converse, MTV and The New York Times.
Craig is the creator of the blog Darcel Disappoints, often working in collaboration with iconic Parisian store colette and in 2010 he opened a solo exhibition there, titled ‘And a miserable day to you too’.
How do you photograph one of the most secretive countries in the world?
For me the answer was simple, photograph what they want you to see. If there is no possibility of getting underneath the surface then the answer was to photograph the surface itself. This series is taken from a larger body of work in Pyongyang, the capital city of North Korea.
Although not commonly thought of as a holiday destination all these photographs have been taken at tourist sites throughout the city.
It took over a year to get permission to go in with my camera and nothing quite prepares you for what awaits. I was not allowed to take my mobile phone past customs and was met by two guides who were to accompany me at all times throughout my trip. At first they appeared robotic in conversation as if reading from a script, telling of their country’s great achievements. After a few days and many polaroids the guides became more relaxed and personable.
Working with such tight restrictions in a country once described as a ‘Stalinist Disneyland’ was a real challenge but the result is the strongest body of work I’ve produced to date.
My first book ‘Welcome to Pyongyang’ was produced in conjunction with Nicholas Bonner of Koryo Tours and was published in the spring of 2007 by Chris Boot.
Jack Radcliffe: When my daughter Alison was born, in the tradition of a new parent, I began to photograph her, initially in a separate and private body of work. However, in the process of documenting Alison’s growth, I developed a passionate interest in human relationships and capturing intimate moments in the lives of family and friends. This affected my photography in a profound way. Rather than the isolated subjects of my earlier work, I became interested in the strength of relationships, oftentimes using personal environments to amplify those conditions. My photographs of Alison, because of the nature of our relationship, are very much a father-daughter collaboration-Alison permitting me access to private moments of our life, which might, under different circumstances, be off-limits to a parent. The camera, early in her life, became part of our relationship, necessitating in me an acceptance, a quietness. We’ve never had long photographic sessions, but rather moments alone or with friends. The significance of these pictures emerges in retrospect. I realize as I look at them, that I created a visual life story of Alison, capturing moments in her metamorphosis from infant to woman-her relationships with friends, her rebellion, and underlying it all, her relationship with me, a constant throughout her life. I wanted to photograph her in all her extremes, and to be part of these times in her life without judging or censoring. Only in this way would I have a true portrait of Alison.