Dina explains the work by saying, “For me, photography is intended not to produce an aesthetic that echoes current beauty standards, but to evoke and wrest feelings of shame, anger, shock and empathy from the observer so as to inspire insight into the human condition. I have always felt that my experience as a documentary photographer complements my conceptual photography — they inform each other technically and creatively. For example, my Fallen Princesses series was born out of deep personal pain, when I raged against the “happily ever after” motif we are spoon fed since childhood. The series created metaphor out of the myths of fairy tales, forcing the viewer to contemplate real life: failed dreams, pollution and ocean degradation, war, obesity, the extinction of indigenous cultures, cancer and the fallacy of chasing eternal youth. By embracing the textures and colors created by Walt Disney, which built a multi-billion dollar empire exploiting these fairy tales, Fallen Princesses exposed the consumerism that has negated the morality of these ancient parables. It also begged the question, “how do we define the concept of ‘good’ and how do we live a ‘good’ life?”
sabato 25 gennaio 2014
Disney “Fallen Princesses” pictures by Dina Goldstein
Dina Goldstein is a Canadian conceptual photographer and a Pop Surrealist artist with a background in editorial photography.
Dina explains the work by saying, “For me, photography is intended not to produce an aesthetic that echoes current beauty standards, but to evoke and wrest feelings of shame, anger, shock and empathy from the observer so as to inspire insight into the human condition. I have always felt that my experience as a documentary photographer complements my conceptual photography — they inform each other technically and creatively. For example, my Fallen Princesses series was born out of deep personal pain, when I raged against the “happily ever after” motif we are spoon fed since childhood. The series created metaphor out of the myths of fairy tales, forcing the viewer to contemplate real life: failed dreams, pollution and ocean degradation, war, obesity, the extinction of indigenous cultures, cancer and the fallacy of chasing eternal youth. By embracing the textures and colors created by Walt Disney, which built a multi-billion dollar empire exploiting these fairy tales, Fallen Princesses exposed the consumerism that has negated the morality of these ancient parables. It also begged the question, “how do we define the concept of ‘good’ and how do we live a ‘good’ life?”
Dina explains the work by saying, “For me, photography is intended not to produce an aesthetic that echoes current beauty standards, but to evoke and wrest feelings of shame, anger, shock and empathy from the observer so as to inspire insight into the human condition. I have always felt that my experience as a documentary photographer complements my conceptual photography — they inform each other technically and creatively. For example, my Fallen Princesses series was born out of deep personal pain, when I raged against the “happily ever after” motif we are spoon fed since childhood. The series created metaphor out of the myths of fairy tales, forcing the viewer to contemplate real life: failed dreams, pollution and ocean degradation, war, obesity, the extinction of indigenous cultures, cancer and the fallacy of chasing eternal youth. By embracing the textures and colors created by Walt Disney, which built a multi-billion dollar empire exploiting these fairy tales, Fallen Princesses exposed the consumerism that has negated the morality of these ancient parables. It also begged the question, “how do we define the concept of ‘good’ and how do we live a ‘good’ life?”
sabato 4 gennaio 2014
Soft Light by german designer Simon Frambach
Soft Light is a soft and flexible light shade made of foamed polyurethane. Its curvy fluent shape that resembles a calabash pumpkin provokes an organic and familiar appearance for a thoroughly synthetic and industrialized material.
Soft Light can be placed in unused spaces like cavities in furniture and other places as an object that fills a void in one's living environment. Its warm and tangible surface invites to touching and literally feeling light. The result is a light which is extremely flexible in use without having a technical characteristic.
The light shade has been crafted from a massive block of polyurethane foam on a simple self-constructed device for rotational milling. The device allows for a precise production of a desired shape. An energy saving light bulb, protected by a cage, illuminates the porous foam from the inside.
Soft Light can be placed in unused spaces like cavities in furniture and other places as an object that fills a void in one's living environment. Its warm and tangible surface invites to touching and literally feeling light. The result is a light which is extremely flexible in use without having a technical characteristic.
The light shade has been crafted from a massive block of polyurethane foam on a simple self-constructed device for rotational milling. The device allows for a precise production of a desired shape. An energy saving light bulb, protected by a cage, illuminates the porous foam from the inside.
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