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.

AdeY

AdeY Portrait

Swedish-British artist AdeY studies subjects such as human balance, strength and physics. Photographing participants 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.

Uncensored

S03-E02

Yulia Shur

Yulias headshot

In their essence, dolls are simultaneously fascinating and controversial. Dolls are known to influence the construction of identities and exploration of various narratives, and are associated with racist and misogynistic stereotypes. In his 1913 essay Dolls, poet Rainer Maria Rilke posits: “We found our orientation through the doll. We could gradually flow down into her and collect ourselves and recognize, although somewhat dimly, our new surrounding world”. We definitely do, and this continues throughout our life: dolls are interwoven into the fabric of our fantasy worlds. And in these worlds, why would dolls be limited to our projections and expectations of them and not be capable of even more than us, humans?

Open your eyes, close your mouth.

You are observing their flesh – soft vinyl or plastic - it is fantastic. You are surrounded by a full spectrum of dolls representing different races, ages, cultures, moods, fantasies. Departing from the expectations, they bend feminist epistemologies and erase the memories of your childhood. Or do they invite you to re-visit them and explore different notions? 

Your invitation to the afternoon doll play has arrived.

Afternoon Dolls

Between the Devil and the Deep Blue Sea is a visual essay about the changing character of a working-class seaside community located along the Chesapeake Bay in Virginia. The work explores residents' relationship to the natural environment and an American neighborhood that has become an intersection of class.

Preston Gannaway 

Gannaway headshot 2022

Seven and a half miles of beach stretch along the mouth of the Chesapeake Bay in the Ocean View neighborhood of Norfolk, Virginia. There are few, if any, spots in Ocean View where one can actually see the Atlantic. It's a place of inherent contradictions. Vulnerable to weather's every whim, the connection to the natural world – even if not embraced – can't be denied.

Once a rowdy playground for sailors, the area was rampant with drugs and prostitution. Over the decades, it's been a siren call for transients and misfits. But low rent in Ocean View also provides a way out of the projects for working-class families. For them, the beach is free. And it's always there. 

Ocean View is an area filled with pride, and perpetually changing. Old cottages are being bulldozed to build million dollar homes. "We're gonna reclaim some of this property, and make it what it should be," said a woman who moved to the neighborhood's affluent subdivision a few years ago. Competing desires are at the heart of this community.

When I moved to Ocean View in 2009, I found the beauty and complexity intoxicating. I felt compelled to photograph it. After growing up in a homogenous part of the Old South, I’ve long been drawn to – and felt liberated by - difference. I had never seen a place as eclectic as Ocean View. I found its imperfections attractive and, perhaps more importantly, truthful. As a hairdresser here once put it to me, “A place so diverse
must be forgiving.”

Between the Devil and the Deep Blue Sea

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. 

Marjan Moghaddam

Marjan

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.

#GlitchGods

Math Art is the first NFT drop by Herbert W. Franke, forefather of media art. This 100 piece-collection is drawn from his iconic 80s series Math Art where mathematical investigation is translated into visual art, with a stunning variety of forms that is strikingly reminiscent of Pop Art.

License: https://quantum.mypinata.cloud/ipfs/QmUnSepLccUajd2kJi3hX7bFvzUuFHr39UUP1TTk9yHaaq


Herbert W. Franke

In 1980, Herbert W. Franke began a fifteen-year collaboration with programmer Horst Helbig at the German Aerospace Center. Together, they studied mathematical disciplines in relation to aesthetics. The series ‘Math Art’ is the output of their research at the intersection of science and art. It reveals a fascinating universe of numbers transformed into images through a stunning variety of shapes and colors reminiscent of Pop Art.

Throughout his entire life, Herbert W. Franke used mathematical principles for art experimentation. From the very beginning, it was clear to him that it should be the artist's mission to examine new technologies and their social significance through the lens of their creative potential.

For Herbert W. Franke mathematics are the essence of visual arts. While he saw the artist as a sort of analytical maker using mathematics to create structures, he assigned the computer the task of modulating these principles of order through varying random processes. Franke, therefore, considered the computer as a creative partner for the artist very early on.

NB: All proceeds of the NFT sale will fund the foundation "art meets science-foundation Herbert W. Franke".

License: https://quantum.mypinata.cloud/ipfs/QmUnSepLccUajd2kJi3hX7bFvzUuFHr39UUP1TTk9yHaaq

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Between the Devil and the Deep Blue Sea

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Math Art (1980-1995)

Between the Devil and the Deep Blue Sea

#GlitchGods

Math Art (1980-1995)

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