Francesca Woodman’s iconic oeuvre includes staged artful self-portraits exploring the relationship between body and space and aspects of identity, featuring her often nude or semi-nude body either in motion, fragmented, collapsed or disguised, like a ghostly, elusive presence in a seemingly abandoned domestic space. The uncanny mise-en-scene includes disintegrating decor
Introduction: Reflections on the Uncanny “The uncanny” is a bemusing, unsettling, strangely familiar phenomenon characterised by a feeling of disruptive eeriness and unreality piercing through the fabric of the mundane; it generates a particular type of response in one’s psyche and evokes an ineffable feeling. The uncanny generally teeters on the
New York-based contemporary multimedia artist Signe Pierce self-identifies as a reality artist, exploring the blurred lines between art and technology, between art and life, and the concept of heightened reality through her neon urban signature photographic style characterised by a glamorous, saccharine aesthetic. The vibrant colour palette she uses is
Gregory Crewdson’s dark, atmospheric, cinematic photographs capture perfectly framed frozen moments incorporating disconnected figures which seem to reflect the domestic and natural landscapes they inhabit; the mundane landscapes are often characterised by an eerie solitude and transformed into something otherworldly, haunting, and compelling. His photographs seem to both reveal and
John Santerineross, considered a neo-symbolist photographer, creates dark, sinister, erotic imagery whilst focusing on conveying moods and evoking states of mind, an approach favoured by the symbolists in art in general. Neosymbolism explores mystical, emotional, spiritual, as well as sensual themes, the unconscious mind and dreams, metamorphoses of good and
A selection of artworks from the stunning, eerie underwater photography collection by Bulgarian visual artist and fine art photographer Mira Nedyalkova. Mira’s work depicts the beautiful facets of pain and sadness in fluid forms, whilst linking water with eroticism, as well as exploring the erotic in the light of the
Polish self-taught fine art photographer Kamila Kansy, known as Laura Makabresku, draws inspiration from her deep, intimate connection to her native land – which she perceives as a mysterious realm of sinister fairy tales, in order to design a tragic world revolving around death, obscure eroticism, suffering, and human frailty.
Fascinated by the mysterious quality of the colour photographs of William Eggleston, a 20 year-old Alex Prager decided to buy a professional camera and dark room equipment in order to express herself creatively through images, in her quest for existential meaning. 18 years later, currently on show at the Photographers’