Bourdin created impossible images long before photoshop
Some of Bourdin’s best-known pictures feature mannequin legs sawn off just below the knee. Those legs, says O’Neill, were “so brilliantly placed you can almost see the whole woman – the sense of her was so strong”.
Though viewers often assume that post-production trickery was at play, usually the images were created by Bourdin drilling the mannequin’s feet through the ground then positioning them.
In fact, he was meticulous in planning his photographs – sketching out the composition and scouting locations in advance – and yet “he made it look so effortless.
Today photographers can very easily make a model fly but when they do it it doesn’t have the same charge or aura.”
Short Biography. Guy Bourdin (2 December 1928, Paris – 29 March 1991, Paris), born Guy Louis Banarès, was a French fashion photographer known for his provocative fashion images.
“At the heart of Guy Bourdin’s fashion photographs is a confrontation with the very nature of commercial image making.
While conventional fashion images make beauty and clothing their central elements, Bourdin’s photographs offer a radical alternative.
These beautiful illustrations by Ania Tomicka are both unsettling and endearing at the same time.
Inspired by the American pop surrealist movement, the intense gaze of the subjects pierce through the images and delve into your very core.
And that’s without even mentioning the cute/creepy critters.
Tomicka is from Lodz, Poland.
When she was nine she moved to Italy, where she “started to draw seriously: Manga at first and realistic things afterwards.” After graduating from art school, Tomicka began to use oil colours – a technique that soon became her favourite.
In terms of inspiration, Tomicka has “always been interested in realistic, renaissance works.
Her first loves are Salvador Dalì and Wojtek Siudmak’s big canvases, full of absurd and strange creations, painted in a divine way.”
And the latter is precisely how we’d describe Tomicka’s own work. To see more, visit her website.
Fascinating surreal illustrations by the artist team of Sven Sauer and Igor Prosavec (SA-PO) that places a robot in megacities such as Tokyo, Shanghai or New York as a metaphor for the rapid development of technology—which has exceeded what society can absorb.
The artists combine the dilemma of “Do androids dream of electric sheep?” with their own observations of the cities as a crucible for social and technological mediums.
Audrey Kawasaki, one of our favorite artists, is back with her latest series titled Hirari Hirari, which translates from Japanese as “the sound or movement of a petal, leaf, or flower slowly falling.”
Using her signature medium of oil, graphite, and ink on wood panels, the Los Angeles-based painter creates gorgeous depictions of dreamy and enigmatic young women.
Kawasaki’s newest work is inspired by kimonos given to the artist by her mother.
Borrowing the colors and natural motifs found in the traditional Japanese garments, the stunning paintings are filled with vibrant hues, striking flowers and birds, and the fluid lines found in wind and water.
Simultaneously contemporary and traditional, innocent and sensual, the young women’s graceful bodies and delicate features blend seamlessly with the flowing imagery, yet stand out with their bold outlines.
Surrealist painter Hans Ruedi Giger, whose designs inspired the creature in Alien and whose otherworldly and often grotesque art graced album covers for Emerson, Lake and Palmer, Debbie Harry and Danzig, died at age 74.
Giger once described his artwork as “biomechanical,” the BBC reports, and earned renown for his monochromatic dystopian landscapes and perverse monsters.
Many paintings featured genitalia in the art, while others found machines fused to organic beings.
“My paintings seem to make the strongest impression on people who are, well, who are crazy,” Giger said in a 1979 interview, according to the Associated Press. “If they like my work they are creative … or they are crazy.”