Since the 1950s, we in the western world have increasingly come to understand our most intimate desires and
experiences, as the products of a so-called “chemical self”. We are able to explain moods, angers, and diseases
both physiological and psychological through an imbalance of substances in the body. All of this, of course,
takes place against the backdrop of a constantly shifting legal and political climate regarding the regulation of
different types of mood altering substances.
What all these substances actually look like when their essence is visually depicted?
Sarah Schönfeld squeezed drops of various legal and illegal liquid drug mixtures onto negative film which had
already been exposed. Each drop altered the coating of the film. Much like the effect
of some of these substances on humans, this can be a lengthy process – sometimes one that can barely be stopped.
She then enlarged these negatives including the chemical reaction of the particular drug, to sizes of up to 160 x 200
cm. All of the substances behaved very differently: the shapes and colors that appeared showed unique characteristics
and revealed unique internal universes. Schönfeld explores the possibilities of photography at the frontiers of what
can be visually portrayed– the interface between representation and reality.
'I wish Bunuel was still alive. He made this film about nothing in particular. The title itself is nonsense. With my stupid, pseudo-scholar, naive, enthusiast, avant-garde-ish, amateurish way to watch 'Un Chien Andalou' (twice), I thought: 'Yeah, I will make a song about it,' he sings: “un chien andalou”…It sounds too French, so I will sing “un chien andalusia”, it sounds good, right?'
(Black Francis, translated from a Spanish interview)
"What am I in the eyes of most people? A good-for-nothing, an eccentric and disagreeable man, somebody who has no position in society and never will have. Very well, even if that were true, I should want to show by my work what there is in the heart of such an eccentric man, of such a nobody."
The essence of Orimoto’s art, however, is the need to break through barriers and communicate. While Breadman clearly broke the ice around the world, helping Orimoto to communicate across cultural and linguistic barriers, ‘Art Mama’ is about communicating across the barriers thrown up by old age and illness.
“I sometimes get criticized for ‘Art Mama,’ ” he admits, “but I just show Mama and she says, ‘Oh, I’m famous around the world.’ It’s good medicine for her.”
I really love these restrained yet expressive portraits of some of the memorable characters from David Lynch’s landmark 1990-1991 ABC television series Twin Peaks. The artist is named Paul Willoughby; not being able to procure actual postcards from the town of Twin Peaks, Willoughby cleverly used as his “canvases” vintage postcards depicting the gorgeous, foresty vistas of the Pacific Northwest instead.
Four of these images—the ones for Josie, Audrey, Donna, and the high school portrait of Laura Palmer—were part of an exhibition at Menier Gallery in Southwark, London, dedicated to Twin Peaks at the end of 2012. I highly recommend clicking around in the exhibition’s website; there’s a lot of fun stuff there for Twin Peaks obsessives.
(source: http://dangerousminds.net/comments/evocative_postcard_portraits_of_twin_peaks_characters )
"A vicious beat like sharp gang boots clicking down the pavement."