Loreal PrystajUntitled from Byrdcliffe series (2014)

There’s a fucking shit ton of image makers producing work with a sort of super high contrast, post-urban decay nightmarish feel.

Unfortunately, as appealing as any one of those facets are in and of themselves, taken together they almost always signify shitty work attempting to glorify style over content.

Prystaj appears to have discovered a means of making what should be an archetypal aesthetic and fuses it with a rigorously formal approach to composition.

Consider the above: the position of the subject is utterly perfect–curves balanced against the rectilinearity of the room and an awareness of the weight and ghost-like forms of shadow and light.

Normally, I’d be inclined to dock points for the 2-3 degree up tilt of the camera. A lesser image maker would’ve down this as a new jerk way of goosing the viewer into attributing a greater dynamic fluidity to the upward stretch/downward pull of the model. However, note how the tilt actually pulls additional angular symmetry between the light pouring into the room via the doorway and windows, the angle of the open door and most importantly the way the spill bouncing off the curtains and rising up towards the unseen ceiling echoes the angle of the falling direct light.

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