![]() Whether we like it or not, rapid assumptions are made based on age, gender, race, culture, physical appearance, the surrounding environment, and especially other people present-all things that help form who we are, real or perceived. When meeting somebody for the first time, or maybe just viewing a portrait, the brain goes into overdrive for a few seconds to quickly form a first impression. You can see more images by Osvald on her Flickr and Instagram. “I build my pictures up from several different ones, much like a jigsaw puzzle.” “I find post-processing the most enjoyable part of creating,” she told Lines magazine. She explains that she does not pre-visualize any of her works, all are completely spontaneous. The self-taught artist’s works are mostly composites that only allude to being photographs. She stands directly in the center of this division, making it seem as if her environment is splitting her in two. Her hair is gently separated over her shoulders and her part continues upward from the nape of her neck and meets with the corner of the wall above. In one particularly powerful image the back of her head faces the camera and her hair is completely down. ![]() Emphasizing line, her works incorporate a strict horizon or eliminate it altogether, segmenting the image from left to right. The self-portraits rarely show the 25-year-old artist’s face, instead expressing emotion through the way she tilts her head or slightly crooks her neck. Visual artist Noell Osvald ( previously) creates startlingly bold works through simple gestures all performed in black and white. You can see more from the exhibition here. The photographer opens his first-ever solo show in Chicago tomorrow evening at Catherine Edelman Gallery titled 7 8 9 0 1, featuring a range of both old and new portraits. Thus I title them self-portraits, so the viewer knows who is in the picture and who took it.Īt the age of 70, Minkkinen was just awarded the 2015 Simon Guggenheim Memorial Foundation Fellowship and is currently finishing work on his 8th book. Some of my pictures might look simple, but in reality they can test the limits of what a human body is capable of or willing to risk. We control how much pain we can tolerate such information is unknowable by anyone else. I do not want to have someone else coming in harm’s way taking the risks I need to take: to lean out off a cliff or stay underwater for the sake of my picture. ![]() Many of my photographs are difficult to make. He shares from an article How to Work the Way I Work: ![]() He usually works completely alone, and won’t let anyone else look through his camera’s viewfinder, lest they instead be labeled ‘the photographer.’ What may appear as a simply composed photo with fortuitous timing, is often the result of Minkkinen taking dangerous risks as he submerges himself in strong currents, buries himself in ice, or balances precariously on the edge of a cliff. ![]() The methods used to create these bold and uninhibited shots pre-date the use of Photoshop by decades, instead relying on a simple 9-second shutter release that allows Minkkinen to quickly pose for each shot. More than just existing in these scenic locations, Minkkinen fully merges his limbs and torso like a chameleon, blurring the lines between where the world ends and his body begins. Courtesy Catherine Edelman Galleryįinnish-American photographer Arno Rafael Minkkinen has been capturing self-portraits of his nude body in natural surroundings for the better part of five decades. ![]()
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