Marina González EmeI’m Lost (2014)

Eme’s work includes ostensible nods to Egon Schiele.

More than that what stands out to me is the essential Spanish-ness of the work–specifically influence by Picasso and Miró.

Eme sidesteps much of the earlier work–instead engaging with the figurative styling of Picasso’s mid-career work (think Guernica and Massacre in Korea) filtered retroactively through the earlier more strictly cubist output. (Bottle of Anis del Mono filtered through a super concentrated examination of Fernand Léger might as as well be the template for Eme’s Black III.)

However, what’s even more striking is when you consider the interplay between the use of space and line (also: the interplay between the two) as it pertains to compositional form in the context of the influence of Miró.

Source unknown – Title unknown (201X)

Efff me but this is magnificent.

The palate is reminiscent of Edward Isais–the perspective, lighting, composition and more unadordned mise en scene are decidedly not, however. (The pose might as well be a doppelgänger for Yung Cheng Lin–but although the perspective and composition of this are more in-line with his work, I don’t think he’s ever done anything this tenebristic.)

I originally found it here (which looks less like the source or even the site of the model and more just a really precocious self-definition-through-curatory-reblogging).

Does anyone know the source for this? I would be very interested in learning more about whomever made it…

EDIT: It seems likely that it’s Chinese image maker pingguodang (tumblr) (behance)–thanks for the tip-off anon!

Igor PjörrtSelf-Portrait (2017)

Pjörrt is unnervingly good at what he does.

I have compared his work to Lina Scheynius before but this makes it clear that while it’s easy to see how one could make that association, he’s really been working in rather the opposite direction.

Everything about this screams passionate Caravaggio homage.

I mean the argument holds up to scrutiny if you only consider Pjörrt‘s use of red and his clear favoring of tenebrism. But to my eye the above image is exactly what I picture in my head when I think of Caravaggio’s paintings–something exactly halfway between the later version of Boy Bitten by a Lizard and Boy with a Basket of Fruit.

Sannah KvistUntitled (2008)

Sannah Kvist = newest image maker crush.

If you’re looking at this and thinking of William Eggleston’s The Red Ceiling, then you’re eye is totally on fleek.

And like Eggleston she’s doing fascinating things with color. (I’m still too blown away by her work to start processing my thoughts just yet.)

But what’s even more interesting is the way that she borrows heavily from Stephen Shore, mixing in some Paula Aparicio and Mathilda Eberhard to keep it fresh and on the bleeding edge.

These days it takes a lot to get me worked up over an entire body of work, but I’ve spent several hours looking through Kvist’s Flickr account and she really is effing amazing.

Dylanne Leefoundation (2015)

This is essentially monochromatic as everything from the skin tone to the dark red of the wall in shadow at frame right is hanging out in red’s third of the color wheel.

It’s interesting because I’m not entirely sold on the composition. Yes, it functions and has a mostly consistent logic to it. And as much as I’m of a mindset that unless your camera shoots in native B&W whether analog or digital, that no one has any business ever using desaturate to create B&W images, this would actually work as a grayscale image (with only some minimal contrast tweaks).

That begs the question of whether or not color is essential to the image? On an objective level, I would argue it isn’t. However, within the context of Dylanne Lee’s work–who FTR isn’t one person it’s a image making duo from Mexico City–the only thing that consistently defines the work is it’s interest in instilling stolid scenes with a sort of inertia as potential for momentum instead of absence of it.

By that expression, the color makes sense. (And I think someone more fluent with color theory than I am could probably to the imagistic equivalent of diagramming a sentence to demonstrate how the color activates a dynamism that would read as more contemplative in B&W.)

I suspect this may be film. If so, it would benefit enormously from a dye-transfer print, IMO.

EL3 Imageryromahni-7 (2014)

The B&W work EL3 Imagery has authored is so bad it borders on offensive.

It’s
mostly that his compositions are either utterly dull or nonsensical.
Yet, there is sometimes interesting considerations show with regard to
color.

He’s clearly going for and falling well short of a portraiture of immediacy feeling a la the fabulously talented ryanmuirhead;
and while he lacks the brashness, audacity and stones of radical
reinterpretation of what constitutes complimentary colors that vk-photography​‘s work, there is something instinctively compelling about EL3 Imagery’s crisp rendering of ultra vivid reds, greens and blues.

In
the case of the above, I don’t have 3D glasses handy but I’m reasonably
sure this would likely take on added dimensionality if I were to look
at this while wearing them. That’s not quite enough to carry the image
but it’s not something I can recall thinking of an image previously.