TINSEL TOWN HEROES
Ellen Von Unwerth
Ellen Von Unwerth’s thirty-year storied career defined the aesthetic of the 90’s and 2000’s and has made her a staple of fashion photography. Crafting cinematic scenarios for her shoots, Von Unwerth’s flashy, kinky, and humorous photographs invite viewers to come along on a boisterous escapade. By furnishing each of her subjects with a new persona to inhabit, she allows their inhibitions to melt away. The story telling aspect in her creative process has allowed her to create images that are never static and begs the question, “what is really going on here?” The inherent sexuality in her images is never without fun, and the subjects within her works are always powerful - positioned in control of their sex appeal.
Quantum Lens
Visit Photography HomeThe world's best curated Photography
Ellen Von Unwerth’s thirty-year storied career defined the aesthetic of the 90’s and 2000’s and has made her a staple of fashion photography. Crafting cinematic scenarios for her shoots, Von Unwerth’s flashy, kinky, and humorous photographs invite viewers to come along on a boisterous escapade. By furnishing each of her subjects with a new persona to inhabit, she allows their inhibitions to melt away. The story telling aspect in her creative process has allowed her to create images that are never static and begs the question, “what is really going on here?” The inherent sexuality in her images is never without fun, and the subjects within her works are always powerful - positioned in control of their sex appeal.
Fugue State Revisited, is an on-going exploration of the future legacies of photography, with a focus on the life span of digital files. After the loss of a hard drive that held 20 years of analog scans, I received only half the files back in recovery. The rest of the files were corrupted, each totally unique in how the machine damages and reinterprets the pixels. This alarming result made me begin to consider ever-shifting digital platforms and file formats, and I realized that much of the data we produce today could eventually fall into a black hole of inaccessibility. The Getty Research Institute states, “While you are still able to view family photographs printed over 100 years ago, a CD with digital files on it from only 10 years ago might be unreadable because of rapid changes to software and the devices we use to access digital content.” As an analog photographer, rather than let the machine have the last word, I have cyanotyped over my damaged digital scans. I use silhouettes of portraits from my archives as a way to conceal and reveal the corruption. By using historical processes to create a physical object, I guarantee that this image will not be lost in the current clash between the digital file and the materiality of a photographic print. Fugue State Revisited calls attention to the fact that today’s digital files may not retain their original state, or even exist, in the next century. As we are reliant on technology to keep our images intact for future generations, it begs the question, who will maintain our hard drives after we are gone? Will we be able to conserve photographs that speak to family histories? These are important considerations for our visual futures, as we may be leaving behind photographs that will be reimagined by machines.
Swedish-British artist AdeY studies subjects such as human balance, strength and physics. Photographing subjects undressed, AdeY’s non-sexualized representation challenges our perceptions of the body, highlighting our vulnerabilities, loneliness, and strengths that are central to the human condition.
For centuries, the art world was seen through the eyes of a small few who, under a patriarchal society, chose the aesthetic and the narrative—and whose main depiction of the sacred female body was as an objectified and sexualized woman. Delphine Diallo aims to change this dynamic. Her intention is for every woman she photographs to feel the image she makes of them is a personal gift. “I am not taking pictures, I am giving pictures,” as Diallo puts it. By engaging in intimate conversations with her subjects, Delphine removes the sense of vulnerability that often comes with being photographed. Working with body painters and jewelry and mask makers, Diallo also uses traditional mythology and spiritual symbols to empower her subjects. Her portraiture is all about connection and exchange. She believes women are deep beings and connects with them on an emotional level. The French-Senegalese photographer spends more time speaking with her subjects than photographing them. Diallo’s photographs are never discriminating, yet deeply communicative, and portray women beyond judgment, soaking up their limitless beauty. Diallo's works are meant to encourage every woman to write a personal narrative, to take a stand, to have a firm voice. No preparatory models, sketches, or plans lay behind her photographs, which depict only outstanding feminine painted bodies. It is all a part of the vision flowing out of the artist's mind, grounded in her right brain hemisphere, predominant in her energetic and vibrant personality. Drawing elements from eastern mythology and philosophy, whilst always ennobling and empowering women, her practice is reminiscent of Oriental 19th-century painting. Looking at Krishnamurti, Frantz Fanon, Joseph Campbell, Bruce Lee, Aimé Césaire, and A.D. Wilson as deep inspirational sources, her photographs raise awareness, appealing to all women to awaken their senses. Diallo immerses herself in the realm of the feminine universe and her eloquent portraiture technique unveils and stirs unexplored emotion and insight meant to reach beyond appearances. “We are in constant search for wonder and growth. I see art as a vessel to express consciousness and as an access to diffuse wisdom, enlightenment, fear, beauty, ugliness, mystery, faith, strength, fearlessness, and universal matter”.
Ellen Von Unwerth’s thirty-year storied career defined the aesthetic of the 90’s and 2000’s and has made her a staple of fashion photography. Crafting cinematic scenarios for her shoots, Von Unwerth’s flashy, kinky, and humorous photographs invite viewers to come along on a boisterous escapade. By furnishing each of her subjects with a new persona to inhabit, she allows their inhibitions to melt away. The story telling aspect in her creative process has allowed her to create images that are never static and begs the question, “what is really going on here?” The inherent sexuality in her images is never without fun, and the subjects within her works are always powerful - positioned in control of their sex appeal.
The world's best curated Photography
Ellen Von Unwerth’s thirty-year storied career defined the aesthetic of the 90’s and 2000’s and has made her a staple of fashion photography. Crafting cinematic scenarios for her shoots, Von Unwerth’s flashy, kinky, and humorous photographs invite viewers to come along on a boisterous escapade. By furnishing each of her subjects with a new persona to inhabit, she allows their inhibitions to melt away. The story telling aspect in her creative process has allowed her to create images that are never static and begs the question, “what is really going on here?” The inherent sexuality in her images is never without fun, and the subjects within her works are always powerful - positioned in control of their sex appeal.
Fugue State Revisited, is an on-going exploration of the future legacies of photography, with a focus on the life span of digital files. After the loss of a hard drive that held 20 years of analog scans, I received only half the files back in recovery. The rest of the files were corrupted, each totally unique in how the machine damages and reinterprets the pixels. This alarming result made me begin to consider ever-shifting digital platforms and file formats, and I realized that much of the data we produce today could eventually fall into a black hole of inaccessibility. The Getty Research Institute states, “While you are still able to view family photographs printed over 100 years ago, a CD with digital files on it from only 10 years ago might be unreadable because of rapid changes to software and the devices we use to access digital content.” As an analog photographer, rather than let the machine have the last word, I have cyanotyped over my damaged digital scans. I use silhouettes of portraits from my archives as a way to conceal and reveal the corruption. By using historical processes to create a physical object, I guarantee that this image will not be lost in the current clash between the digital file and the materiality of a photographic print. Fugue State Revisited calls attention to the fact that today’s digital files may not retain their original state, or even exist, in the next century. As we are reliant on technology to keep our images intact for future generations, it begs the question, who will maintain our hard drives after we are gone? Will we be able to conserve photographs that speak to family histories? These are important considerations for our visual futures, as we may be leaving behind photographs that will be reimagined by machines.
Swedish-British artist AdeY studies subjects such as human balance, strength and physics. Photographing subjects undressed, AdeY’s non-sexualized representation challenges our perceptions of the body, highlighting our vulnerabilities, loneliness, and strengths that are central to the human condition.
For centuries, the art world was seen through the eyes of a small few who, under a patriarchal society, chose the aesthetic and the narrative—and whose main depiction of the sacred female body was as an objectified and sexualized woman. Delphine Diallo aims to change this dynamic. Her intention is for every woman she photographs to feel the image she makes of them is a personal gift. “I am not taking pictures, I am giving pictures,” as Diallo puts it. By engaging in intimate conversations with her subjects, Delphine removes the sense of vulnerability that often comes with being photographed. Working with body painters and jewelry and mask makers, Diallo also uses traditional mythology and spiritual symbols to empower her subjects. Her portraiture is all about connection and exchange. She believes women are deep beings and connects with them on an emotional level. The French-Senegalese photographer spends more time speaking with her subjects than photographing them. Diallo’s photographs are never discriminating, yet deeply communicative, and portray women beyond judgment, soaking up their limitless beauty. Diallo's works are meant to encourage every woman to write a personal narrative, to take a stand, to have a firm voice. No preparatory models, sketches, or plans lay behind her photographs, which depict only outstanding feminine painted bodies. It is all a part of the vision flowing out of the artist's mind, grounded in her right brain hemisphere, predominant in her energetic and vibrant personality. Drawing elements from eastern mythology and philosophy, whilst always ennobling and empowering women, her practice is reminiscent of Oriental 19th-century painting. Looking at Krishnamurti, Frantz Fanon, Joseph Campbell, Bruce Lee, Aimé Césaire, and A.D. Wilson as deep inspirational sources, her photographs raise awareness, appealing to all women to awaken their senses. Diallo immerses herself in the realm of the feminine universe and her eloquent portraiture technique unveils and stirs unexplored emotion and insight meant to reach beyond appearances. “We are in constant search for wonder and growth. I see art as a vessel to express consciousness and as an access to diffuse wisdom, enlightenment, fear, beauty, ugliness, mystery, faith, strength, fearlessness, and universal matter”.
Ellen Von Unwerth’s thirty-year storied career defined the aesthetic of the 90’s and 2000’s and has made her a staple of fashion photography. Crafting cinematic scenarios for her shoots, Von Unwerth’s flashy, kinky, and humorous photographs invite viewers to come along on a boisterous escapade. By furnishing each of her subjects with a new persona to inhabit, she allows their inhibitions to melt away. The story telling aspect in her creative process has allowed her to create images that are never static and begs the question, “what is really going on here?” The inherent sexuality in her images is never without fun, and the subjects within her works are always powerful - positioned in control of their sex appeal.
Swedish-British artist AdeY studies subjects such as human balance, strength and physics. Photographing subjects undressed, AdeY’s non-sexualized representation challenges our perceptions of the body, highlighting our vulnerabilities, loneliness, and strengths that are central to the human condition.
For centuries, the art world was seen through the eyes of a small few who, under a patriarchal society, chose the aesthetic and the narrative—and whose main depiction of the sacred female body was as an objectified and sexualized woman. Delphine Diallo aims to change this dynamic. Her intention is for every woman she photographs to feel the image she makes of them is a personal gift. “I am not taking pictures, I am giving pictures,” as Diallo puts it. By engaging in intimate conversations with her subjects, Delphine removes the sense of vulnerability that often comes with being photographed. Working with body painters and jewelry and mask makers, Diallo also uses traditional mythology and spiritual symbols to empower her subjects. Her portraiture is all about connection and exchange. She believes women are deep beings and connects with them on an emotional level. The French-Senegalese photographer spends more time speaking with her subjects than photographing them. Diallo’s photographs are never discriminating, yet deeply communicative, and portray women beyond judgment, soaking up their limitless beauty. Diallo's works are meant to encourage every woman to write a personal narrative, to take a stand, to have a firm voice. No preparatory models, sketches, or plans lay behind her photographs, which depict only outstanding feminine painted bodies. It is all a part of the vision flowing out of the artist's mind, grounded in her right brain hemisphere, predominant in her energetic and vibrant personality. Drawing elements from eastern mythology and philosophy, whilst always ennobling and empowering women, her practice is reminiscent of Oriental 19th-century painting. Looking at Krishnamurti, Frantz Fanon, Joseph Campbell, Bruce Lee, Aimé Césaire, and A.D. Wilson as deep inspirational sources, her photographs raise awareness, appealing to all women to awaken their senses. Diallo immerses herself in the realm of the feminine universe and her eloquent portraiture technique unveils and stirs unexplored emotion and insight meant to reach beyond appearances. “We are in constant search for wonder and growth. I see art as a vessel to express consciousness and as an access to diffuse wisdom, enlightenment, fear, beauty, ugliness, mystery, faith, strength, fearlessness, and universal matter”.
Ellen Von Unwerth’s thirty-year storied career defined the aesthetic of the 90’s and 2000’s and has made her a staple of fashion photography. Crafting cinematic scenarios for her shoots, Von Unwerth’s flashy, kinky, and humorous photographs invite viewers to come along on a boisterous escapade. By furnishing each of her subjects with a new persona to inhabit, she allows their inhibitions to melt away. The story telling aspect in her creative process has allowed her to create images that are never static and begs the question, “what is really going on here?” The inherent sexuality in her images is never without fun, and the subjects within her works are always powerful - positioned in control of their sex appeal.
Quantum Canvas
Visit Digital Art HomeThe finest Digital Art, carefully curated by our team of experts
Khuwab ki Tabeer ‘Interpretation of a dream’ is Maliha Abidi’s latest series. This collection of 4 NFTs follows a story of a South-Asian girl and all the things she dreams about because to her, there is no limit, restrictions or barriers that stand in her way of achieving any of it. Each of the unique art pieces celebrate Maliha’s heritage as a Pakistani-American artist through use of distinct elements native to Pakistan’s culture. The series reminds us of our younger self and takes us back to the times when we used to wonder during the nights about our dreams, what we want to be and how it’ll escape the challenges we faced as our young selves. A fifth part (not for sale) to this series is a piece which follows on from the story where the protagonist reflects and comes face to face with her inner fearlessness.
GAMUT-93 is a series of pixel-based video paintings informed by the Op art movement, primitive computer graphics, and contemporary graffiti. Gravitating between symbolism and abstraction, the artwork whispers in micro-narratives through the use of silent haiku charades, hypnotic visual ambience, and vivid graphic techno.
How does one convey a sense of space and materiality through digital abstraction? For fifteen years, Nicolas Sassoon pursued this question through his artistic practice, using the visual language of early computer graphics. Each animation from SLABS is created using a moiré pattern technique and are rendered with streaks of hard-edged pixels and limited color palettes. The pixelated textures and colors are composed to divide the screen in horizontal and vertical arrangements, like slices of digital matter stacked against each other. The resulting animations appear as high-contrast, kinetic works that evoke natural features, geological formations, imaginary structures, or abstract compositions. At large, these compositions relate to many histories of abstraction in painting, op art, moving image, and computer graphics: from the optical paintings of Bridget Riley to the moiré sculptures of Jesús Rafael-Soto, from the experimental video works of the Vasulka’s to the pixelated maps of The Legend of Zelda. SLABS can be viewed both horizontally and vertically. SLABS can be displayed as “wallpapers” in both metaverse architectures and physical spaces.
The 20 unique animations from Marjan Moghaddam’s new collection #GlitchGods are a counterpoint to her project #GlitchGoddesses. With humor, precision, and striking technical skills, the OG female crypto artist reflects on facets of modern male identity. As a metaphor for the contemporary body that morphs and iterates changing ideas, identities and moods, Marjan Moghaddam carefully shapes post-humanist bodies that resist static sculptural forms. Her recognizable figurative style is rooted in her use of 3dCG. She mixes 3d modeling, 2d painting, pose-to-pose 3d animation, procedural animation, motion graphics, simulation, dynamics, and compositing SFX. Additional glitches further articulate the sculptural volumes.
GAMUT-93 is a series of pixel-based video paintings informed by the Op art movement, primitive computer graphics, and contemporary graffiti. Gravitating between symbolism and abstraction, the artwork whispers in micro-narratives through the use of silent haiku charades, hypnotic visual ambience, and vivid graphic techno.
In Arclight’s newest body of work, LIMINAL SPACE, manipulated self-portraits and photographs of his brother take center stage in a series of digital paintings depicting the two young men involved in mundane activities: sipping coffee while listening to a good track, hanging out by a pool, calling a friend… The surreal treatment of these banal scenes inject a palpable feeling of nostalgia. Arrows and smileys symbolize a rollercoaster of emotions and disillusionment, while flowers convey his desire to bloom. Tigers embody his sense of being out of place, since the animals are not native to the African continent. Arclight made those 20 unique pieces in an agitated period where time seems suspended until the upcoming elections: the artworks from LIMINAL SPACE invite the viewers to reminisce about brighter days.
The finest Digital Art, carefully curated by our team of experts
Khuwab ki Tabeer ‘Interpretation of a dream’ is Maliha Abidi’s latest series. This collection of 4 NFTs follows a story of a South-Asian girl and all the things she dreams about because to her, there is no limit, restrictions or barriers that stand in her way of achieving any of it. Each of the unique art pieces celebrate Maliha’s heritage as a Pakistani-American artist through use of distinct elements native to Pakistan’s culture. The series reminds us of our younger self and takes us back to the times when we used to wonder during the nights about our dreams, what we want to be and how it’ll escape the challenges we faced as our young selves. A fifth part (not for sale) to this series is a piece which follows on from the story where the protagonist reflects and comes face to face with her inner fearlessness.
GAMUT-93 is a series of pixel-based video paintings informed by the Op art movement, primitive computer graphics, and contemporary graffiti. Gravitating between symbolism and abstraction, the artwork whispers in micro-narratives through the use of silent haiku charades, hypnotic visual ambience, and vivid graphic techno.
How does one convey a sense of space and materiality through digital abstraction? For fifteen years, Nicolas Sassoon pursued this question through his artistic practice, using the visual language of early computer graphics. Each animation from SLABS is created using a moiré pattern technique and are rendered with streaks of hard-edged pixels and limited color palettes. The pixelated textures and colors are composed to divide the screen in horizontal and vertical arrangements, like slices of digital matter stacked against each other. The resulting animations appear as high-contrast, kinetic works that evoke natural features, geological formations, imaginary structures, or abstract compositions. At large, these compositions relate to many histories of abstraction in painting, op art, moving image, and computer graphics: from the optical paintings of Bridget Riley to the moiré sculptures of Jesús Rafael-Soto, from the experimental video works of the Vasulka’s to the pixelated maps of The Legend of Zelda. SLABS can be viewed both horizontally and vertically. SLABS can be displayed as “wallpapers” in both metaverse architectures and physical spaces.
The 20 unique animations from Marjan Moghaddam’s new collection #GlitchGods are a counterpoint to her project #GlitchGoddesses. With humor, precision, and striking technical skills, the OG female crypto artist reflects on facets of modern male identity. As a metaphor for the contemporary body that morphs and iterates changing ideas, identities and moods, Marjan Moghaddam carefully shapes post-humanist bodies that resist static sculptural forms. Her recognizable figurative style is rooted in her use of 3dCG. She mixes 3d modeling, 2d painting, pose-to-pose 3d animation, procedural animation, motion graphics, simulation, dynamics, and compositing SFX. Additional glitches further articulate the sculptural volumes.
GAMUT-93 is a series of pixel-based video paintings informed by the Op art movement, primitive computer graphics, and contemporary graffiti. Gravitating between symbolism and abstraction, the artwork whispers in micro-narratives through the use of silent haiku charades, hypnotic visual ambience, and vivid graphic techno.
In Arclight’s newest body of work, LIMINAL SPACE, manipulated self-portraits and photographs of his brother take center stage in a series of digital paintings depicting the two young men involved in mundane activities: sipping coffee while listening to a good track, hanging out by a pool, calling a friend… The surreal treatment of these banal scenes inject a palpable feeling of nostalgia. Arrows and smileys symbolize a rollercoaster of emotions and disillusionment, while flowers convey his desire to bloom. Tigers embody his sense of being out of place, since the animals are not native to the African continent. Arclight made those 20 unique pieces in an agitated period where time seems suspended until the upcoming elections: the artworks from LIMINAL SPACE invite the viewers to reminisce about brighter days.
How does one convey a sense of space and materiality through digital abstraction? For fifteen years, Nicolas Sassoon pursued this question through his artistic practice, using the visual language of early computer graphics. Each animation from SLABS is created using a moiré pattern technique and are rendered with streaks of hard-edged pixels and limited color palettes. The pixelated textures and colors are composed to divide the screen in horizontal and vertical arrangements, like slices of digital matter stacked against each other. The resulting animations appear as high-contrast, kinetic works that evoke natural features, geological formations, imaginary structures, or abstract compositions. At large, these compositions relate to many histories of abstraction in painting, op art, moving image, and computer graphics: from the optical paintings of Bridget Riley to the moiré sculptures of Jesús Rafael-Soto, from the experimental video works of the Vasulka’s to the pixelated maps of The Legend of Zelda. SLABS can be viewed both horizontally and vertically. SLABS can be displayed as “wallpapers” in both metaverse architectures and physical spaces.
The 20 unique animations from Marjan Moghaddam’s new collection #GlitchGods are a counterpoint to her project #GlitchGoddesses. With humor, precision, and striking technical skills, the OG female crypto artist reflects on facets of modern male identity. As a metaphor for the contemporary body that morphs and iterates changing ideas, identities and moods, Marjan Moghaddam carefully shapes post-humanist bodies that resist static sculptural forms. Her recognizable figurative style is rooted in her use of 3dCG. She mixes 3d modeling, 2d painting, pose-to-pose 3d animation, procedural animation, motion graphics, simulation, dynamics, and compositing SFX. Additional glitches further articulate the sculptural volumes.
GAMUT-93 is a series of pixel-based video paintings informed by the Op art movement, primitive computer graphics, and contemporary graffiti. Gravitating between symbolism and abstraction, the artwork whispers in micro-narratives through the use of silent haiku charades, hypnotic visual ambience, and vivid graphic techno.
In Arclight’s newest body of work, LIMINAL SPACE, manipulated self-portraits and photographs of his brother take center stage in a series of digital paintings depicting the two young men involved in mundane activities: sipping coffee while listening to a good track, hanging out by a pool, calling a friend… The surreal treatment of these banal scenes inject a palpable feeling of nostalgia. Arrows and smileys symbolize a rollercoaster of emotions and disillusionment, while flowers convey his desire to bloom. Tigers embody his sense of being out of place, since the animals are not native to the African continent. Arclight made those 20 unique pieces in an agitated period where time seems suspended until the upcoming elections: the artworks from LIMINAL SPACE invite the viewers to reminisce about brighter days.