Happy Birthday to the beautiful Laura Spencer!
“I think at this point in our world, we’ve got a really confused idea of the way gender and sexuality works. I think we’ve created this really superfluous sort of like binary in the way we think about gender. And I guess I identify as queer because I don’t identify with that. I think that makes us less whole as people. I don’t need to be assigned to what it is I can do or who I can love. And it seems like we keep drawing these battle lines which are completely unnecessary. So that’s what I basically mean. When I say I’m queer, I’m saying that I think human beings are amazing. And love is an honor and an opportunity. And a fragile thing. A fragile process in which there’s no room for doubt, or shame, or hatred.” — Ezra Miller
Spencer Finch - 366, Emily Dickinson’s Miraculous Year (2009)
This work is based on Emily Dickinson in 1862, when she wrote 366 poems in 365 days. It is a real-time memorial to that year, which burns for exactly one year. The sculpture is comprised of 366 individual candles arranged in a linear sequence, each of which burns for 24 hours. The colour of each candle matches a colour mentioned in the corresponding poem. For the poems in which no colour is mentioned, the candles are made out of natural paraffin.
Do you know, in nine hundred years of time and space I’ve never met anyone who wasn’t important before.
Hawaii-based photographer Christy Lee Rogers specializes in creating dreamlike photos of people underwater. Her project Reckless Unbound shows people swirling around one another while wearing colorful outfits. The photos are reminiscent of the paintings of old Baroque masters, who would often paint people floating around in heavenly realms.
Rogers creates her photos in swimming pools at night. The scenes are illuminated with bright off-camera lights, and the shoots often last two to four hours each.
Christy Lee Rogers reshapes the boundaries between contemporary photography and painting, with her series Reckless Unbound. While provoking the audience with vivacious movements and purpose, she also stirs the viewer’s memories of baroque painter Pieter Paul Rubens and his Massacre of the Innocents.
Without the use of post-production manipulation, Rogers’ works are made in-camera, on the spot, in water and at night. She applies her technique to bodies submerged in water during tropical nights in Hawaii. Through a fragile process of experimentation, she builds elaborate scenes of coalesced colours and entangled bodies that exalt the human character as one of vigour and warmth, while also capturing the beauty and vulnerability of the tragic experience that is the human condition.
You can see more of her work over on her website.
Words are obsolete.