View allAll Photos Tagged conceptual
Josh Stern says so beautifully:
If you see the light at the end of the tunnel, you're looking through binoculars the wrong way.
This is perhaps an accurate definition of "many people's view of life". They never consider their dreams and hopes close, or maybe it can be said that they are used to having dreams, not achieving them...
Conceptual project about the life of objects. This is my second round of editing on this image... I'm getting closer...
A conceptual painting work by Simon Hood, looking at the role of the artist. Simon painted the top row of canvases, outsourced the painting of the second row to me, and invited the audience to paint the bottom row. For the Why Paint? exhibition at The Island, Bristol, March 2014. Photograph by me.
Old photographs of myself and family, and old letters distorted with ink and water colour and covered in wax then stitched together.
Time is great. I went into the forest because trees grow with time and so people. so yeet. I was sitting on a stool and I photoshopped it out. Global edits and HSL sliders so the blue pop would show up on the trees and the sky (I really like how that looks).
Conceptual Portraits
Union Station, St Louis, Missouri
Model: Christianne Clorina
Photographer: Eric Mazzone - @emazzone.art
©2021 Eric Mazzone, All Rights Reserved
No reproduction in any form without prior written permission.
Sixteen years of fighting between Moroccan and Polisario forces left Western Sahara contaminated by landmines and explosive remnants of war (ERW). During the conflict Morocco constructed a thousand mile defensive wall, known as the ‘Berm’. This earthwork fortification divides Western Sahara in two with Polisario controlling the area east of the Berm and Morocco controlling the area to the west. The barrier minebelt that runs alongside the berm is believed to be the longest continuous minefield in the world. Landmine and ERW contamination hinders safe movement throughout Western Sahara for the local population and United Nations observers
Jason Miller creates his conceptually driven images in-studio, Memphis, TN. Miller is interested in making imagery that deals with human subjects interrelating and communicating through archaic 20th century artifacts. He works both in single imagery as well as grand format digital montage. Historical topics including Memento mori, Vanitas, and a self-reflection on modern human inventions of communication paired with mirrors and symbolism are placed in communion with the use of chiaroscuro, thoroughly considered custom museum dioramas, and highly detailed photographic based renderings. .
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No images, mediated or otherwise, are used that do not first pass directly through Millerâs camera. The goal of the photographically created images is to transcend being merely esthetically pleasing in order to arrive at a materialization of the underlying thought process. "My work is designed, from conception to final presentation, to lay bare the struggle and chess play behind my process.".
-JN Miller