Mei Xian Qiu is a Los Angeles based artist. She was born in the town of Pekalongan, on the island of Java, Indonesia, to a third generation Chinese minority family.
At birth, she was given various names in preparation for societal collapse and variant potential futures, a Chinese name, an American name and an Indonesian name given by her parents, as well as a Catholic name by the local priest. In the aftermath of the Chinese and Communist genocide, the family immigrated to the United States. She was moved back and forth several times between the two countries during her childhood – her parents initial reaction to what they perceived as the amorality of life in the West countered with the uncertainty of life in Java. Partially as a result of a growing sense of restlessness, her father joined the U.S. Air force and the family lived across the country, sometimes staying in one place for just a month at a time. She has also been based in Europe, China, and Indonesia as an adult.
“Let a Thousand Flowers Bloom,” a series of photographs portraying a Chinese takeover of the United States, is a popular partial Western misquotation of Mao Zedong’s “Let a Hundred Flowers Blossom, Let a Hundred Schools of Thought Contend.” Taken from classical Chinese poetry, Mao used this slogan to proclaim a great society where arts, academia, and “a hundred schools of thought contend.” As a result, artists and academics came out of hiding and there was a brief flowering of culture.
In the photographs, hidden political dangers are suggested and must be addressed urgently, but are put aside momentarily, subsumed to the romance of “the beautiful idea.” The models for the imagery are Pan Asian American artists, and academics specializing in Chinese culture, the very group at risk in a Hundred Flowers Movement. The costumes are discarded U.S. military uniforms, cheongsams constructed for the photographs, and Chinese mock ups taken from a Beijing photography studio, specializing in getups for foreign tourists to re-enact Cultural Revolution Propaganda imagery.
Growing up in Java as a third generation Chinese Diasporic minority during a time when being Chinese was unlawful, Qiu reconstructed the unknown, fantastical notions of culture, self invented and — by dissecting essential archetypes, revelatory and iconic. This type of flexible self view and easy piercings of notions of the impermeable interior self, are in keeping with the new contemporary landscape of commonplace transience and a growing global mono culture. After her family immigrated to the U.S. in response to genocide, Qiu visited China five times only to learn it was eagerly shedding its own past culture in order to embrace modernity.
The photographs uses familiar symbolism and historical dystopianism, but looks squarely to the future. Never forgetful of the past, this body of work engages the constitution of the future, affirmatively critical, specifically with respect to globalism, the identity of the self and self view, the social landscape, post-colonialism, and that of the larger national body politic.
Raised in communist Ukraine, Lyakir developed a passion for photography as a young child. Soviet cinematography and historical family photographs inspired her to pick up a camera when she was only seven. In 1990 she immigrated to the U.S. with her family, seeking political asylum, and shortly thereafter migrated to New York City. Fascinated by the ‘90s experimental art scene, she went to study art history and took courses in photography and film studies. Lyakir’s experiences of discrimination and oppressive authority in communist Ukraine eventually motivated her to continue pursuing her art on her own through research, mentorship, collaborations and experimentation in the dark room.
Lyakir’s work is internationally exhibited and included in many private and corporate collections. Large-scale images from her “Aves” series decorate the walls of ABC Kitchen in Manhattan by renowned, James Beard award-winning chef Jean-George
Vongerichten. She has won awards for her image titled Black Bird Fly and is actively involved with Berlin Collective artist collaborative. As an activist, Lyakir donates prints for many causes, including the International Center of Photography auction, the Bailey House, First Bloom, Thorn Tree Project. Her work was recently featured in “ART UNLIMITED”, Artist’s Portfolio Magazine, Feature Shoot, and Silvershotz Magazine.
Statement
Through the medium of photography I examine my desire to understand how emotions and memories are trapped inside photographs, representing reality in symbols. I am interested in creating art that is intimate, visceral and emotive. Each photograph is a visually poetic metaphor for the complexities of human emotion—the exposed and the hidden, the delightful and the disquieting.
As a woman and as an artist I am preoccupied with emotional ramifications of displacement and Diaspora and attempt to reveal their intricacies through my work. This pursuit makes me a kind of nomad, an individual perpetually traveling to a place of revelation, a place to call home. I believe that there is beauty in the melancholy of longing and wish to soften and transcend reality through my lens in search of that beauty.
I am interested in the relationship between photography and other disciplines. Using elements of nature as my subject, I push the limits of the photographic medium to suggest drawings and painterly abstractions. While the natural depictions remain vivid; the images blur and fade along the edges, almost as if the centrifugal forces of my own displacement punctuate every interpretation of my surroundings.
In my practice I often use a tilt-shift lens because it allows room for spontaneity. The resulting accidents and deviations lead to new discoveries. I enjoy the extemporaneous quality of this process and view my practice as an extension of seeing and an exercise of instinct and connectivity. I am inspired by forms and philosophies of minimalism and thus attempt to generate a visual experience that provides mental space for contemplation.
Javiera Estrada was born in Acapulco, Mexico on Aug. 6. making her a Leo Rooster with a Scorpio Moon. During her educational years Javiera was classically trained in piano and violin which continues to influence her aesthetic through visual lyricism. In conjunction, the artist's vivid dreamworld has shaped memories into reality, impacting her imagination and fate.
A seeker of the spiritual nature of the inner terrain, Javiera believes that every piece of art created is a self-portrait, a physical expression of that inner world that is nameless. Furthermore, her fascination with the timeless themes of life + death, has led to the exploration of unmasking the layers between darkness and light. Using photography as her visual journal, the sound of the camera's click is the confluence between reality and the ethereal.
A multifarious artist,her creative expression encompasses traditional photography alongside mixed media. The latter journeys the natural cycle of decomposition and is reflected through the deconstruction of an image. The photograph has been altered and the result is a fragmentary view of what was once whole. A symbol of transient beauty.
Javiera's art has been exhibited in numerous galleries and most recently on actor Kevin Bacon's television series THE FOLLOWING. She currently resides in Culver City California with her dog-cat named LOVE.
The most recent body of work, In the Bedroom, is an intimate perspective of the space between the subconscious dreamworld and fantasy. Portrayed through the feminine archetype, this personal journey is a kaleidoscopic explosion of color and imagination interwoven and juxtaposed in the stillness of the environment.
The creative process ofIn The Bedroom is a unique multi-layered technique producing an original one of a kind piece. All photographs are shot on film with the use of a medium format camera. The image is then printed and displayed in view for the collage to take form. The “dream” is revealed through the patience of time and the collection of imagery. Vintage and modern illustrations are layered between acrylic sheets, arranged and re-arranged multitudinously until the finality of the piece is revealed. This subliminal expedition can take anywhere from a few days up to a few months. Occasionally due to the anomaly of dreams, the absence of vision leaves a frame void of all imagination. The artistic intention derives not from cerebral contemplation but from the undercurrent of a sentimental world.
Exploring Transcendental Urban/Landscapes
It seems unrealistic to expect a single photographic shot, a single moment in time, to convey the human experience of seeing. We visually explore our environment in the third and fourth dimensions as we build our personal visual journey.
Compositing up to 100 long exposures into a single piece, is a more cohesive way of expressing the filmic. It allows me to explore movement and condensed time and lends itself to my concerns with exemplifying the transcendental and the essence of place, in the urban/landscape.
Though I am not directly referencing (Hudson River School Painters) I draw parallels with the artist’s methods and have in mind the often-transcendental qualities that are encountered in their landscapes. However I aim to extol something of this spirit within the urban context. An “urbanized Idealism”.
I aim to present a condensed vision of multiple photographs as a metaphor for repeated perceptual glances. And engage the viewer by conveying an animated experience of the dynamic urban infrastructure.
Maksimilian Dikarev is a self-taught photographer. Over the last two decades Maksimilian has delved into digital and large format film, most notably an exploration of a near-extinct medium: Polaroid film.
He is uniquely drawn to Polaroids because of its tactile nature. Its permanence and the distinctive quality of each individual Polaroid is unmistakable; the images are impossible to duplicate.
Polaroid film has been used over the years as simply a tool to test color and exposure in the pre-digital era. Now that the film is no longer produced, the remaining stocks are expired and no longer accurate for that task. However, the very fact that there is a color shift, that there is something inherently wrong with it, somehow enhances the images I create.
Maksimilian describes his process as painstaking and challenging, slower than the fast pace of today’s photographers. He says, “Working with expired film has inherent unpredictability – it frequently distorts my images and often reveals something even more beautiful than what I had intended.”
The accidental marks. The chemical streaks. The half-developed images or missing corners. The unpredictability of “what may happen with this shot” is what turns a good image into a unique one. It is irreproducible. It is truly one of a kind. If my film is “good” then I’ll just take some great photos. But if it has some faults and problems, then I love it! This is why I don’t shoot much on digital when creating. The polaroid is not going to be “like new,” but in that imperfect way it will be unique and wonderful.
Maksimilian’s artistic focus is the female nude, and with his distinctive knowledge of the human form, his nudes express a unique fluidity and sensitivity. His work is bold, evocative, sensual, and genuinely concerned with evoking the personality of his subjects, reminiscent of the stylized compositions of Robert Mapplethorpe.
In addition to Polaroids, Maksimilian is applying his studio experience to explore new methods of lighting the human form in order to reshape it in surreal ways.
Maksimilian was born in Russia and spent his formative years in Brooklyn, New York. He has a doctorate degree in physical therapy from Florida International University.
Jon DeBoer is a photographer and graphic designer living and working in Metro Detroit, Michigan. His background in graphic design and interest in architecture has strongly influenced his approach to photography. Jon began exploring the city of Detroit with a camera in 2009 and has been photographing the evolving urban landscape ever since.
Initially his early work focused on capturing the abandoned side of the city in color. However, he was soon inspired to shift his focus to show a different side of the city after witnessing renewal efforts in Detroit.
"Right now is a really important time to photograph Detroit's architecture. As the city is experiencing so much change and growth, many of its buildings are being torn down or going through dramatic renovations."
Jon's new work, and his solo exhibition simply titled DETROIT communicate his vision of the city, but also convey the moods or emotions he experiences while photographing the city. Predominantly shot in black and white and using long exposures, his images showcase the beauty of Detroit's architecture that has been overlooked or forgotten by many.
His images, which are usually captured in the late afternoon or early evening light, highlight the bold contrasts between the light and shadow. In his work you see an individual who has a love affair with the streets and architecture of Detroit, a city that he finds both mysterious and beautiful.
Detroit is a city where so much of its history can be seen through its buildings, a city that has stark contrasts between vacant and populated, decay and developed. Whether it's an abandoned silo or stadium or a newly renovated art deco building, Jon's images capture the beauty of the past and the hope for a brighter future of a great city and its people.
"Detroit and its residents have withstood a lot of adversity, but it is that tough spirit that makes Detroit such an interesting, unique city to photograph. I love shooting Detroit's buildings, but the people I have met in the city have made a lasting impact on me. Nearly everyone I've met in Detroit shares the same passion for the city and is hopeful for a brighter future."
Jon exhibited his work with Exposure Detroit in 2010 and 2012. His work was also featured in multiple exhibits at Studio Couture Detroit in 2010-11. In 2012, Jon received 1st place in the Architecture: Cityscapes category of the International Photography Awards (IPA)
In May 2014, Jon's work was featured in Novum: World of Graphic Design magazine. Jon will debut his work for L'Atelier Ldep Gallery at the Two James Spirits this June in Corktown, Detroit
Originally from Belgium, Laurent has been commissioned to create customized international art projects for boutique hotels and luxury cruise liners, as well as projects for private buyers from around the world. His work has been recognized in notable photographic competitions.
Laurent’s exhibition Urban is characterized by his reinterpretations of traditional Miami landscapes, urging the viewer to explore the details of his work and discover hidden meanings. While his landscape entitled, “Industrial” transformed the landscape of Miami into something reminiscent of 1950s New York, the other works in the Urban series are more fluid and create a softness to the urban aesthetic.
Laurent’s Arctic series of ice prints was a huge success among collectors for its simplicity and fluid abstract movement within the images.
After spending a few years focusing on the reiteration of landscapes, Laurent decided it was time to go back to his first love of photography by creating a new series, called “Crated”, inspired by the work of Jean Paul Goude and his daughter’s fascination with fairytale characters, and was recently exhibited in June of 2014 at the Merging Focus exhibition in Barcelona, Spain.
Now Laurent is discovering the new opportunities and limitations offered through the use of AI technology. His latest work involves his fascination with police mugshots and how beautiful and intriguing they can be. Revealing a persona through an impromptu photo.
He is currently working on old 40s Hollywood inspired mugshots portraits as well as portraits of wild animals.
“As an artist, not having to conform to industry rules is liberating, and also allows you to grow artistically: you don’t have to think about limits. I try to interpret a scene or portrait with new meaning upon which the viewer can reflect.”
Laurent has lived in Switzerland, England, and Portugal. He received a Bachelor of Fine Arts in Photography from Richmond, the American University in London, England. He is the founder and owner of L’Atelier Ldep Gallery located in Miami. His work is currently available for sale on the art website Artsy.net .
He is currently based in the US
“Mugshots of the Wild : Caught Red Pawed” is a photography project that uses AI to generate detailed mugshots of endangered animals, capturing their personalities and expressions as though they were humans in a police lineup. Each image aims to evoke empathy and curiosity, encouraging viewers to consider the unique lives and challenges of these creatures, whose habitats and populations are rapidly shrinking.
In this project, AI plays a pivotal role by creating lifelike, high-resolution images of endangered animals in the style of human mugshots. This approach goes beyond traditional wildlife photography, offering a hauntingly expressive portrayal that highlights each animal’s individuality. By showcasing the animals as relatable beings rather than distant icons, the project underscores the gravity of the threats they face.
Each “mugshot” presents an animal with a solemn, human-like expression, encouraging viewers to confront their own impact on the ongoing environmental crisis. By humanizing these animals, “Mugshots of the Wild” engages our sense of empathy and justice, prompting us to see them as beings with personalities, stories, and a rightful place in the world.
To deepen this connection, each mugshot is accompanied by a “warrant” card that displays the animal’s species, attributes, geographic location, and even a “crime” — often nothing more than existing in habitats encroached upon by humans. This format emphasizes the irony of their “guilt,” reminding us that while these animals are innocent, they are still judged by a system that has put them at risk.
By framing these animals in a style typically reserved for criminals, “Mugshots of the Wild : Caught Red Pawed” makes a profound statement: these creatures are innocent victims, yet they bear the consequences of human exploitation of the planet. The project serves as a stark reminder of our power to influence their fate, urging us to recognize the urgency of conservation and take action to protect the world’s irreplaceable biodiversity.
With its haunting beauty and conceptual depth, “Mugshots of the Wild : Caught Red Pawed” challenges us to see the silent suffering of the voiceless and compels us to act.
“Mugshots of the Wild : Caught Red Pawed” is a photography project that uses AI to generate detailed mugshots of endangered animals, capturing their personalities and expressions as though they were humans in a police lineup. Each image aims to evoke empathy and curiosity, encouraging viewers to consider the unique lives and challenges of these creatures, whose habitats and populations are rapidly shrinking.
In this project, AI plays a pivotal role by creating lifelike, high-resolution images of endangered animals in the style of human mugshots. This approach goes beyond traditional wildlife photography, offering a hauntingly expressive portrayal that highlights each animal’s individuality. By showcasing the animals as relatable beings rather than distant icons, the project underscores the gravity of the threats they face.
Each “mugshot” presents an animal with a solemn, human-like expression, encouraging viewers to confront their own impact on the ongoing environmental crisis. By humanizing these animals, “Mugshots of the Wild” engages our sense of empathy and justice, prompting us to see them as beings with personalities, stories, and a rightful place in the world.
To deepen this connection, each mugshot is accompanied by a “warrant” card that displays the animal’s species, attributes, geographic location, and even a “crime” — often nothing more than existing in habitats encroached upon by humans. This format emphasizes the irony of their “guilt,” reminding us that while these animals are innocent, they are still judged by a system that has put them at risk.
By framing these animals in a style typically reserved for criminals, “Mugshots of the Wild : Caught Red Pawed” makes a profound statement: these creatures are innocent victims, yet they bear the consequences of human exploitation of the planet. The project serves as a stark reminder of our power to influence their fate, urging us to recognize the urgency of conservation and take action to protect the world’s irreplaceable biodiversity.
With its haunting beauty and conceptual depth, “Mugshots of the Wild : Caught Red Pawed” challenges us to see the silent suffering of the voiceless and compels us to act.
“Mugshots of the Wild : Caught Red Pawed” is a photography project that uses AI to generate detailed mugshots of endangered animals, capturing their personalities and expressions as though they were humans in a police lineup. Each image aims to evoke empathy and curiosity, encouraging viewers to consider the unique lives and challenges of these creatures, whose habitats and populations are rapidly shrinking.
In this project, AI plays a pivotal role by creating lifelike, high-resolution images of endangered animals in the style of human mugshots. This approach goes beyond traditional wildlife photography, offering a hauntingly expressive portrayal that highlights each animal’s individuality. By showcasing the animals as relatable beings rather than distant icons, the project underscores the gravity of the threats they face.
Each “mugshot” presents an animal with a solemn, human-like expression, encouraging viewers to confront their own impact on the ongoing environmental crisis. By humanizing these animals, “Mugshots of the Wild” engages our sense of empathy and justice, prompting us to see them as beings with personalities, stories, and a rightful place in the world.
To deepen this connection, each mugshot is accompanied by a “warrant” card that displays the animal’s species, attributes, geographic location, and even a “crime” — often nothing more than existing in habitats encroached upon by humans. This format emphasizes the irony of their “guilt,” reminding us that while these animals are innocent, they are still judged by a system that has put them at risk.
By framing these animals in a style typically reserved for criminals, “Mugshots of the Wild : Caught Red Pawed” makes a profound statement: these creatures are innocent victims, yet they bear the consequences of human exploitation of the planet. The project serves as a stark reminder of our power to influence their fate, urging us to recognize the urgency of conservation and take action to protect the world’s irreplaceable biodiversity.
With its haunting beauty and conceptual depth, “Mugshots of the Wild : Caught Red Pawed” challenges us to see the silent suffering of the voiceless and compels us to act.
“Mugshots of the Wild : Caught Red Pawed” is a photography project that uses AI to generate detailed mugshots of endangered animals, capturing their personalities and expressions as though they were humans in a police lineup. Each image aims to evoke empathy and curiosity, encouraging viewers to consider the unique lives and challenges of these creatures, whose habitats and populations are rapidly shrinking.
In this project, AI plays a pivotal role by creating lifelike, high-resolution images of endangered animals in the style of human mugshots. This approach goes beyond traditional wildlife photography, offering a hauntingly expressive portrayal that highlights each animal’s individuality. By showcasing the animals as relatable beings rather than distant icons, the project underscores the gravity of the threats they face.
Each “mugshot” presents an animal with a solemn, human-like expression, encouraging viewers to confront their own impact on the ongoing environmental crisis. By humanizing these animals, “Mugshots of the Wild” engages our sense of empathy and justice, prompting us to see them as beings with personalities, stories, and a rightful place in the world.
To deepen this connection, each mugshot is accompanied by a “warrant” card that displays the animal’s species, attributes, geographic location, and even a “crime” — often nothing more than existing in habitats encroached upon by humans. This format emphasizes the irony of their “guilt,” reminding us that while these animals are innocent, they are still judged by a system that has put them at risk.
By framing these animals in a style typically reserved for criminals, “Mugshots of the Wild : Caught Red Pawed” makes a profound statement: these creatures are innocent victims, yet they bear the consequences of human exploitation of the planet. The project serves as a stark reminder of our power to influence their fate, urging us to recognize the urgency of conservation and take action to protect the world’s irreplaceable biodiversity.
With its haunting beauty and conceptual depth, “Mugshots of the Wild : Caught Red Pawed” challenges us to see the silent suffering of the voiceless and compels us to act.
“Mugshots of the Wild : Caught Red Pawed” is a photography project that uses AI to generate detailed mugshots of endangered animals, capturing their personalities and expressions as though they were humans in a police lineup. Each image aims to evoke empathy and curiosity, encouraging viewers to consider the unique lives and challenges of these creatures, whose habitats and populations are rapidly shrinking.
In this project, AI plays a pivotal role by creating lifelike, high-resolution images of endangered animals in the style of human mugshots. This approach goes beyond traditional wildlife photography, offering a hauntingly expressive portrayal that highlights each animal’s individuality. By showcasing the animals as relatable beings rather than distant icons, the project underscores the gravity of the threats they face.
Each “mugshot” presents an animal with a solemn, human-like expression, encouraging viewers to confront their own impact on the ongoing environmental crisis. By humanizing these animals, “Mugshots of the Wild” engages our sense of empathy and justice, prompting us to see them as beings with personalities, stories, and a rightful place in the world.
To deepen this connection, each mugshot is accompanied by a “warrant” card that displays the animal’s species, attributes, geographic location, and even a “crime” — often nothing more than existing in habitats encroached upon by humans. This format emphasizes the irony of their “guilt,” reminding us that while these animals are innocent, they are still judged by a system that has put them at risk.
By framing these animals in a style typically reserved for criminals, “Mugshots of the Wild : Caught Red Pawed” makes a profound statement: these creatures are innocent victims, yet they bear the consequences of human exploitation of the planet. The project serves as a stark reminder of our power to influence their fate, urging us to recognize the urgency of conservation and take action to protect the world’s irreplaceable biodiversity.
With its haunting beauty and conceptual depth, “Mugshots of the Wild : Caught Red Pawed” challenges us to see the silent suffering of the voiceless and compels us to act.
“Mugshots of the Wild : Caught Red Pawed” is a photography project that uses AI to generate detailed mugshots of endangered animals, capturing their personalities and expressions as though they were humans in a police lineup. Each image aims to evoke empathy and curiosity, encouraging viewers to consider the unique lives and challenges of these creatures, whose habitats and populations are rapidly shrinking.
In this project, AI plays a pivotal role by creating lifelike, high-resolution images of endangered animals in the style of human mugshots. This approach goes beyond traditional wildlife photography, offering a hauntingly expressive portrayal that highlights each animal’s individuality. By showcasing the animals as relatable beings rather than distant icons, the project underscores the gravity of the threats they face.
Each “mugshot” presents an animal with a solemn, human-like expression, encouraging viewers to confront their own impact on the ongoing environmental crisis. By humanizing these animals, “Mugshots of the Wild” engages our sense of empathy and justice, prompting us to see them as beings with personalities, stories, and a rightful place in the world.
To deepen this connection, each mugshot is accompanied by a “warrant” card that displays the animal’s species, attributes, geographic location, and even a “crime” — often nothing more than existing in habitats encroached upon by humans. This format emphasizes the irony of their “guilt,” reminding us that while these animals are innocent, they are still judged by a system that has put them at risk.
By framing these animals in a style typically reserved for criminals, “Mugshots of the Wild : Caught Red Pawed” makes a profound statement: these creatures are innocent victims, yet they bear the consequences of human exploitation of the planet. The project serves as a stark reminder of our power to influence their fate, urging us to recognize the urgency of conservation and take action to protect the world’s irreplaceable biodiversity.
With its haunting beauty and conceptual depth, “Mugshots of the Wild : Caught Red Pawed” challenges us to see the silent suffering of the voiceless and compels us to act.
“Mugshots of the Wild : Caught Red Pawed” is a photography project that uses AI to generate detailed mugshots of endangered animals, capturing their personalities and expressions as though they were humans in a police lineup. Each image aims to evoke empathy and curiosity, encouraging viewers to consider the unique lives and challenges of these creatures, whose habitats and populations are rapidly shrinking.
In this project, AI plays a pivotal role by creating lifelike, high-resolution images of endangered animals in the style of human mugshots. This approach goes beyond traditional wildlife photography, offering a hauntingly expressive portrayal that highlights each animal’s individuality. By showcasing the animals as relatable beings rather than distant icons, the project underscores the gravity of the threats they face.
Each “mugshot” presents an animal with a solemn, human-like expression, encouraging viewers to confront their own impact on the ongoing environmental crisis. By humanizing these animals, “Mugshots of the Wild” engages our sense of empathy and justice, prompting us to see them as beings with personalities, stories, and a rightful place in the world.
To deepen this connection, each mugshot is accompanied by a “warrant” card that displays the animal’s species, attributes, geographic location, and even a “crime” — often nothing more than existing in habitats encroached upon by humans. This format emphasizes the irony of their “guilt,” reminding us that while these animals are innocent, they are still judged by a system that has put them at risk.
By framing these animals in a style typically reserved for criminals, “Mugshots of the Wild : Caught Red Pawed” makes a profound statement: these creatures are innocent victims, yet they bear the consequences of human exploitation of the planet. The project serves as a stark reminder of our power to influence their fate, urging us to recognize the urgency of conservation and take action to protect the world’s irreplaceable biodiversity.
With its haunting beauty and conceptual depth, “Mugshots of the Wild : Caught Red Pawed” challenges us to see the silent suffering of the voiceless and compels us to act.
“Mugshots of the Wild : Caught Red Pawed” is a photography project that uses AI to generate detailed mugshots of endangered animals, capturing their personalities and expressions as though they were humans in a police lineup. Each image aims to evoke empathy and curiosity, encouraging viewers to consider the unique lives and challenges of these creatures, whose habitats and populations are rapidly shrinking.
In this project, AI plays a pivotal role by creating lifelike, high-resolution images of endangered animals in the style of human mugshots. This approach goes beyond traditional wildlife photography, offering a hauntingly expressive portrayal that highlights each animal’s individuality. By showcasing the animals as relatable beings rather than distant icons, the project underscores the gravity of the threats they face.
Each “mugshot” presents an animal with a solemn, human-like expression, encouraging viewers to confront their own impact on the ongoing environmental crisis. By humanizing these animals, “Mugshots of the Wild” engages our sense of empathy and justice, prompting us to see them as beings with personalities, stories, and a rightful place in the world.
To deepen this connection, each mugshot is accompanied by a “warrant” card that displays the animal’s species, attributes, geographic location, and even a “crime” — often nothing more than existing in habitats encroached upon by humans. This format emphasizes the irony of their “guilt,” reminding us that while these animals are innocent, they are still judged by a system that has put them at risk.
By framing these animals in a style typically reserved for criminals, “Mugshots of the Wild : Caught Red Pawed” makes a profound statement: these creatures are innocent victims, yet they bear the consequences of human exploitation of the planet. The project serves as a stark reminder of our power to influence their fate, urging us to recognize the urgency of conservation and take action to protect the world’s irreplaceable biodiversity.
With its haunting beauty and conceptual depth, “Mugshots of the Wild : Caught Red Pawed” challenges us to see the silent suffering of the voiceless and compels us to act.
“Mugshots of the Wild : Caught Red Pawed” is a photography project that uses AI to generate detailed mugshots of endangered animals, capturing their personalities and expressions as though they were humans in a police lineup. Each image aims to evoke empathy and curiosity, encouraging viewers to consider the unique lives and challenges of these creatures, whose habitats and populations are rapidly shrinking.
In this project, AI plays a pivotal role by creating lifelike, high-resolution images of endangered animals in the style of human mugshots. This approach goes beyond traditional wildlife photography, offering a hauntingly expressive portrayal that highlights each animal’s individuality. By showcasing the animals as relatable beings rather than distant icons, the project underscores the gravity of the threats they face.
Each “mugshot” presents an animal with a solemn, human-like expression, encouraging viewers to confront their own impact on the ongoing environmental crisis. By humanizing these animals, “Mugshots of the Wild” engages our sense of empathy and justice, prompting us to see them as beings with personalities, stories, and a rightful place in the world.
To deepen this connection, each mugshot is accompanied by a “warrant” card that displays the animal’s species, attributes, geographic location, and even a “crime” — often nothing more than existing in habitats encroached upon by humans. This format emphasizes the irony of their “guilt,” reminding us that while these animals are innocent, they are still judged by a system that has put them at risk.
By framing these animals in a style typically reserved for criminals, “Mugshots of the Wild : Caught Red Pawed” makes a profound statement: these creatures are innocent victims, yet they bear the consequences of human exploitation of the planet. The project serves as a stark reminder of our power to influence their fate, urging us to recognize the urgency of conservation and take action to protect the world’s irreplaceable biodiversity.
With its haunting beauty and conceptual depth, “Mugshots of the Wild : Caught Red Pawed” challenges us to see the silent suffering of the voiceless and compels us to act.
“Mugshots of the Wild : Caught Red Pawed” is a photography project that uses AI to generate detailed mugshots of endangered animals, capturing their personalities and expressions as though they were humans in a police lineup. Each image aims to evoke empathy and curiosity, encouraging viewers to consider the unique lives and challenges of these creatures, whose habitats and populations are rapidly shrinking.
In this project, AI plays a pivotal role by creating lifelike, high-resolution images of endangered animals in the style of human mugshots. This approach goes beyond traditional wildlife photography, offering a hauntingly expressive portrayal that highlights each animal’s individuality. By showcasing the animals as relatable beings rather than distant icons, the project underscores the gravity of the threats they face.
Each “mugshot” presents an animal with a solemn, human-like expression, encouraging viewers to confront their own impact on the ongoing environmental crisis. By humanizing these animals, “Mugshots of the Wild” engages our sense of empathy and justice, prompting us to see them as beings with personalities, stories, and a rightful place in the world.
To deepen this connection, each mugshot is accompanied by a “warrant” card that displays the animal’s species, attributes, geographic location, and even a “crime” — often nothing more than existing in habitats encroached upon by humans. This format emphasizes the irony of their “guilt,” reminding us that while these animals are innocent, they are still judged by a system that has put them at risk.
By framing these animals in a style typically reserved for criminals, “Mugshots of the Wild : Caught Red Pawed” makes a profound statement: these creatures are innocent victims, yet they bear the consequences of human exploitation of the planet. The project serves as a stark reminder of our power to influence their fate, urging us to recognize the urgency of conservation and take action to protect the world’s irreplaceable biodiversity.
With its haunting beauty and conceptual depth, “Mugshots of the Wild : Caught Red Pawed” challenges us to see the silent suffering of the voiceless and compels us to act.
“Mugshots of the Wild : Caught Red Pawed” is a photography project that uses AI to generate detailed mugshots of endangered animals, capturing their personalities and expressions as though they were humans in a police lineup. Each image aims to evoke empathy and curiosity, encouraging viewers to consider the unique lives and challenges of these creatures, whose habitats and populations are rapidly shrinking.
In this project, AI plays a pivotal role by creating lifelike, high-resolution images of endangered animals in the style of human mugshots. This approach goes beyond traditional wildlife photography, offering a hauntingly expressive portrayal that highlights each animal’s individuality. By showcasing the animals as relatable beings rather than distant icons, the project underscores the gravity of the threats they face.
Each “mugshot” presents an animal with a solemn, human-like expression, encouraging viewers to confront their own impact on the ongoing environmental crisis. By humanizing these animals, “Mugshots of the Wild” engages our sense of empathy and justice, prompting us to see them as beings with personalities, stories, and a rightful place in the world.
To deepen this connection, each mugshot is accompanied by a “warrant” card that displays the animal’s species, attributes, geographic location, and even a “crime” — often nothing more than existing in habitats encroached upon by humans. This format emphasizes the irony of their “guilt,” reminding us that while these animals are innocent, they are still judged by a system that has put them at risk.
By framing these animals in a style typically reserved for criminals, “Mugshots of the Wild : Caught Red Pawed” makes a profound statement: these creatures are innocent victims, yet they bear the consequences of human exploitation of the planet. The project serves as a stark reminder of our power to influence their fate, urging us to recognize the urgency of conservation and take action to protect the world’s irreplaceable biodiversity.
With its haunting beauty and conceptual depth, “Mugshots of the Wild : Caught Red Pawed” challenges us to see the silent suffering of the voiceless and compels us to act.
“Mugshots of the Wild : Caught Red Pawed” is a photography project that uses AI to generate detailed mugshots of endangered animals, capturing their personalities and expressions as though they were humans in a police lineup. Each image aims to evoke empathy and curiosity, encouraging viewers to consider the unique lives and challenges of these creatures, whose habitats and populations are rapidly shrinking.
In this project, AI plays a pivotal role by creating lifelike, high-resolution images of endangered animals in the style of human mugshots. This approach goes beyond traditional wildlife photography, offering a hauntingly expressive portrayal that highlights each animal’s individuality. By showcasing the animals as relatable beings rather than distant icons, the project underscores the gravity of the threats they face.
Each “mugshot” presents an animal with a solemn, human-like expression, encouraging viewers to confront their own impact on the ongoing environmental crisis. By humanizing these animals, “Mugshots of the Wild” engages our sense of empathy and justice, prompting us to see them as beings with personalities, stories, and a rightful place in the world.
To deepen this connection, each mugshot is accompanied by a “warrant” card that displays the animal’s species, attributes, geographic location, and even a “crime” — often nothing more than existing in habitats encroached upon by humans. This format emphasizes the irony of their “guilt,” reminding us that while these animals are innocent, they are still judged by a system that has put them at risk.
By framing these animals in a style typically reserved for criminals, “Mugshots of the Wild : Caught Red Pawed” makes a profound statement: these creatures are innocent victims, yet they bear the consequences of human exploitation of the planet. The project serves as a stark reminder of our power to influence their fate, urging us to recognize the urgency of conservation and take action to protect the world’s irreplaceable biodiversity.
With its haunting beauty and conceptual depth, “Mugshots of the Wild : Caught Red Pawed” challenges us to see the silent suffering of the voiceless and compels us to act.
“Mugshots of the Wild : Caught Red Pawed” is a photography project that uses AI to generate detailed mugshots of endangered animals, capturing their personalities and expressions as though they were humans in a police lineup. Each image aims to evoke empathy and curiosity, encouraging viewers to consider the unique lives and challenges of these creatures, whose habitats and populations are rapidly shrinking.
In this project, AI plays a pivotal role by creating lifelike, high-resolution images of endangered animals in the style of human mugshots. This approach goes beyond traditional wildlife photography, offering a hauntingly expressive portrayal that highlights each animal’s individuality. By showcasing the animals as relatable beings rather than distant icons, the project underscores the gravity of the threats they face.
Each “mugshot” presents an animal with a solemn, human-like expression, encouraging viewers to confront their own impact on the ongoing environmental crisis. By humanizing these animals, “Mugshots of the Wild” engages our sense of empathy and justice, prompting us to see them as beings with personalities, stories, and a rightful place in the world.
To deepen this connection, each mugshot is accompanied by a “warrant” card that displays the animal’s species, attributes, geographic location, and even a “crime” — often nothing more than existing in habitats encroached upon by humans. This format emphasizes the irony of their “guilt,” reminding us that while these animals are innocent, they are still judged by a system that has put them at risk.
By framing these animals in a style typically reserved for criminals, “Mugshots of the Wild : Caught Red Pawed” makes a profound statement: these creatures are innocent victims, yet they bear the consequences of human exploitation of the planet. The project serves as a stark reminder of our power to influence their fate, urging us to recognize the urgency of conservation and take action to protect the world’s irreplaceable biodiversity.
With its haunting beauty and conceptual depth, “Mugshots of the Wild : Caught Red Pawed” challenges us to see the silent suffering of the voiceless and compels us to act.
“Mugshots of the Wild : Caught Red Pawed” is a photography project that uses AI to generate detailed mugshots of endangered animals, capturing their personalities and expressions as though they were humans in a police lineup. Each image aims to evoke empathy and curiosity, encouraging viewers to consider the unique lives and challenges of these creatures, whose habitats and populations are rapidly shrinking.
In this project, AI plays a pivotal role by creating lifelike, high-resolution images of endangered animals in the style of human mugshots. This approach goes beyond traditional wildlife photography, offering a hauntingly expressive portrayal that highlights each animal’s individuality. By showcasing the animals as relatable beings rather than distant icons, the project underscores the gravity of the threats they face.
Each “mugshot” presents an animal with a solemn, human-like expression, encouraging viewers to confront their own impact on the ongoing environmental crisis. By humanizing these animals, “Mugshots of the Wild” engages our sense of empathy and justice, prompting us to see them as beings with personalities, stories, and a rightful place in the world.
To deepen this connection, each mugshot is accompanied by a “warrant” card that displays the animal’s species, attributes, geographic location, and even a “crime” — often nothing more than existing in habitats encroached upon by humans. This format emphasizes the irony of their “guilt,” reminding us that while these animals are innocent, they are still judged by a system that has put them at risk.
By framing these animals in a style typically reserved for criminals, “Mugshots of the Wild : Caught Red Pawed” makes a profound statement: these creatures are innocent victims, yet they bear the consequences of human exploitation of the planet. The project serves as a stark reminder of our power to influence their fate, urging us to recognize the urgency of conservation and take action to protect the world’s irreplaceable biodiversity.
With its haunting beauty and conceptual depth, “Mugshots of the Wild : Caught Red Pawed” challenges us to see the silent suffering of the voiceless and compels us to act.
Based in Berlin, Germany, Austrian artist Isabella Trimmel creates large format abstract digital mages. A self-taught photographer, Isabella's minimal, dynamic art is characterized by original digital techniques that when viewed from a distance look like paintings, but with a closer view reveal an infinite set of modern details of layers, lines and surfaces interwoven upon each other.
Since 2004 Isabella has been developing a style of graphic art, which is unique in its layering and movement. Work that is dense and chaotic, complex but also humble, simple and transparent.
For the 5450 Collective Isabella’s will exhibit two limited edition works from her Raumfaltung and Schwärze Series.
In her Raumfaltung series Isabella plays with the concept of a wormhole which is a hypothetical topological feature that would fundamentally be a shortcut through spacetime. The series which a study of passage, time and surface creating folded warped spaces that have no departure and endpoint.
In contrast her Schwärze series focuses on quantum mechanics and the Copenhagen Interpretation: What is really here, when no-one is looking? and how do we reconcile the apparent dualism of “ wave” and “ particle” .The work with its solid fluid areas of black with alternate lines and layers,explores spacial expanse and corresponding reality’s. In March 2015 Isabella will debut her work at the 5450 collective at the ICON gallery in Hollywood California.
Yanira Ambert is an award-winning artistic photographer. She received a Bachelor of Fine Arts in Photography from Richmond University, in London, England. In 1998 she was awarded first prize at the Bienal Internacional de Fotografia, in San Juan, Puerto Rico, for her work, “Habito Tu Nombre,” which was her first collaboration with the writer Alba Ambert. Yanira’s work was exhibited at El Sur Gallery in New York City later that year. In the year 2000, her mixed-media work “La Otra Pietá” was exhibited at the Human Rights Festival in Athens, Greece. Yanira has traveled extensively throughout Europe, Asia, the Middle East, and North and South America. Her images are influenced by her travels and reflect the diversity of the people and landscapes she has encountered in her evocative journeys. She currently lives with her husband and young daughter in Miami, Florida.
“Wordstock” presents the photography of Yanira Ambert accompanied by the words of celebrated poet and novelist Alba Ambert. “Wordstock” is a mother-daughter collaboration created over a period of fifteen years. The work features text and accompanying images that speak to the human condition and social issues that have come to define our culture. Wordstock is counter-seduction, an act of aesthetic rebellion that intends to seduce the viewer with words and images with strong meaning. “Wordstock” captivates the senses and the intellect. This stock of words and images links vigorous visual imagery to the deep meaning and power of language.
Nicole Landau is a native Los Angeleno who creates abstract photography that transforms common objects into unimagined landscapes. With Nicole’s degree in architecture, her art work is influenced by Bauhaus, Constructivist and Deconstructivist architecture and design.
In Nicole’s vision, original photographs may be used whole, repeated, or deconstructed, blended one upon another, forms ultimately emerging through translucency. She creates an unlikely transformation by meticulously abstracting what has been discarded and considered unsightly into contemplative spaces, reshaping our modern world into a balanced calm with its own order and rhythm.
“My images are born in the back alleys of our cities where architectural details have not been scraped clean of their history. I seek out that doorknob that has been turned by 10,000 hands, recording the full passage of years silently in stray marks and layers of paint bleached by the sun.”
Nicole’s artwork has been commissioned internationally for private collections, corporate headquarters, and luxury hotels; from Beverly Hills to New York, to the Raffles Hotel, Istanbul; The Prince Hills, Shanghai; and The Park in Taiwan. She recently completed a Solo show titled Portalsat the Icon Gallery in Los Angeles, California.
She holds a BA in Architecture from the University of Colorado at Boulder, where she received an AIA Unbuilt Architecture Award. Nicole Landau lives and works in Los Angeles, California.
Patrice is self taught photographer and is the current Acting Chairman, IPM-RGP a newspapers and internet company in Brussels Belgium.
Patrice has a MBA from Stanford University and has exhibited his photos in Belgium and Germany, Paris, Amsterdam, New York, Singapore, and Hong Kong.
He currently lives and works in Brussels Belguim.
Jean-christophe Dick is a fine art photographer based in
Los Angeles. He has always been fascinated by aviation and chose to become a pilot. Around the same time that he became a pilot he discovered photography which allowed him to capture his travels and document the skies he flew.
The rigor, training and exploration he learned in aviation, he applied to photography. By building on a solid base of established photographic principles, he pursued new methods and techniques of photography which expanded the barriers of what can be seen. Human eyes can only see a fraction of the light spectrum, a part of that spectrum we cannot see is infrared light. In infrared photography, Jean-christophe discovered a way to see what is hidden in plain sight. By using custom modified cameras that were calibrated to capture infrared light, Jean-christophe can render the invisible visible. Since infrared light is based on infrared reflective and heat properties instead of pigmentation, the coloration of objects and people is different from what we can see.
His photos have been on display at Photo Independent, the Los Angeles Center for Digital Arts, the Museum of Flight in Seattle and the Fine Arts Building in Los Angeles and Digital Arts California.
Mike is a self-taught photographer and currently lives in Detroit, but spent his formative years in Ohio, Mexico,
and Venezuela.
He originally took up photography to document graffiti in Detroit’s abandoned buildings, but expanded his subject todocumenting the decay and urban blight of Detroit.
Although absent of people, Mike’s
images explore humanity in raw and desolate scenes that hint at an everyday apocalypse. The viewer can almost hear the hushed whispers of those who once sat in the empty movie theater or walked the hallways of the now-silent hospital. Above all, Mike’s images capture the other side of the American dream, one that ended abruptly for thousands of people.
Prior to Urban, Mike’s work was featured in 2013 at the Exposure Detroit exhibition in Royal Oak, Michigan. These days,Mike is rarely seen without his camera, and is working on a series of images focusing on the renewal of Detroit.
Juan Manuel Garcia: Colombia
Is a highly acclaimed advertising and editorial photographer whose clients range from celebrities to high end consumer goods.
He won a New York Festivals Gold Medal with a campaign for Absolut Vodka, and many awards in the USA and Latin America. In addition to his commercial work, Juan has shot over 200 magazine covers, which include celebrities, sports icons, presidents and other international personalitites.
In the beginning of 2016, Juan decide he wanted to venture into the fine art world, and thus started the collaboration with l’Atelier Ldep in order to create a formidable portfolio of fine art and commercial images.
Jeffrey is an american photographer, based out of Los Angeles, who started his craft back in the days when he lived and grew up in Miami.
He Started the series Bloom after the passing of his mother who always had a fondness for flowers. It was through grief, jeffrey realised he felt a connection to his mother through flowers.
The capture of each flower has transformed the images into paintings, especially after Jeffrey showcased them in custom white framed with museum glass. The lack of reflection and the almost 3D feel gives the viewer an exciting visionary experience.
Jeffrey has been known to use other stimuli to accentuate the viewers experience
