On April 27, 2015, friends, family and mourners gathered around Freddie Gray’s casket as it was being lowered into the ground at Woodlawn Cemetery in Baltimore. Freddie Gray was a 25 year old black man who died from spinal injuries a week after he was arrested by Baltimore police. This is now another death of a black man in police custody. Parts of Baltimore became chaos with torching of businesses and police cars and throwing bricks at police officers. The riot is the latest flare up amid the national debate over police use of force, especially when black suspects are involved.
The Human Gallery do not promote violence. This is not a way to resolve problems or change a situation. Riots hurt a community far more than it helps but anyone could see that this heated situation would soon boil over.
DVNLLN captured powerful images of the city’s chaos and did an excellent job showing the emotion and turmoil behind what is going on in Baltimore. You can see more and follow on his Instagram at BYDVNLLN.
So Yoo Lym started this series of hair and braid pattern paintings in the summer of 2008. These acrylic on paper images are based on photos he took of students and strangers he came across in Patterson, New Jersey where he had worked for the past 9 years. So Yoo Lym was born is Seoul, Korea, but lived in Kenya and Uganda for the first 7 years of his life. Since then he has lived in various parts of New Jersey. At age 15, he started studying with Korean exiled painter, Ung No Lee in Normandy, France. There he discovered in that summer how art was inextricably tied to nature and his life.
Elena Helfrecht, is a self taught German photographer. Her work was influenced by the dark forests and the folklore of Bavaria. The goal of Helfrecht’s imagery is to visualize human thoughts and emotions. With the medium of photography she captures reality and alters it digitally to show what lies beneath the physical surface.
There i spark within everything. A living light in the eyes of a person, a memory that flares up, the glow of a passion that was never declared. A face always tells more than it knows, which is why photography is never a mere reproduction of what is.
A good photo tells what was, why might have been or what is waiting painfully beneath the surface. Sylwia Makris has been in pursuit of these sparks since she first held a camera. Her quest produces images that may delight or disturb but always move the beholder.
She photographs people. People who are strong or delicate, broken or dynamic. She photographs faces of our time-and in doing so gives a face to our time. Nakedness is the most natural state. And in our day the most intrusive and common-every-where naked bodies are used to tempt, advertise and sell. Nakedness can only say as much as it is allowed to say. Sylwia Makris respects the nude body as part of a story that must be told. As part of a stroy that tels of people, nakedness regains its original magic, its archaic power and its complexity of expression in Makris’ photos. Until the viewer sometimes feels more naked than the model in the image.
Sylwia Makris was born in 1973 in Gdynia, Poland. She worked as a sculptor before finding her way to photography in 2007. Today she lives in Munich as freelance photographer.
Paris based artist, Francoise Nielly, creates stunning large-scale portraits, inspired by urban culture. Her vibrant paintings are created using pallet knives, spreading neon coloured paint boldly across the canvas in order to capture the vibrant nature of her subjects. Françoise Nielly’s painting is expressive, exhibiting a brute force, a fascinating vital energy. Oil and knife combine to sculpt her images from a material that is, at the same time, biting and incisive, charnel and sensual. Whether she paints the human body or portraits, the artist takes a risk: her painting is sexual, her colors free, exuberant, surprising, even explosive, the cut of her knife incisive, her color pallet dazzling.
Simen Johan born in Norway in 1973, who darkly explores the human proclivity towards fantasy and our attempts, knowing or otherwise, to alternate realities for ourselves. Merging traditional photographic techniques with digital methods, Johan creates each of his images from as many as one hundred negatives, having first constructed or discovered each element and photographed it on film. Across his body of work, the viewer is urged to ponder the relationship between the real and the artificial or imagined.
Istanbul based architect, Yener Torun has taken on the project of documenting Istanbul’s minimalist architecture. His photographs have a large following. “What I show is completely abstracted from the reality,” says Torun, “With the human element, the background becomes a tool that shows a feeling or emotion.” Continue reading →