Since 2000, John Armstrong, who lives in Toronto, and Paul Collins, who lives in Paris, have maintained a collaborative, intermedia art practice.
Their photographs, videos and painted images record places, events and objects they come across in the course of their daily lives in Toronto and Paris. These elements are variously juxtaposed to suggest narratives that play with the porous nature of individual and collective memory.
cache-misère is the title of a series of colour photographs on which the artists have painted images, text and swatches of colour. The photographs are compositionally completed by the addition of painted elements that, to varying degrees, obscure the initial picture. The painted images represent primarily domestic bric-a-brac and typographical elements that form short poetic statements.
Once painted, the photographs no longer represent seamless windows onto reality, but assume a new logic where any editorial content is complemented by the associative synergy found in abstract painting.
–Installation view of cache-misère in the exhibition The Mechanical Bride curated by Bonnie Rubenstein for the Scotiabank Contact Photography Festival 2010 at the Museum of Canadian Contemporary Art, Toronto.
"My photography is a place where there are no limits. A place where I can be fearless, where I can be whomever I like"—an artist's boundless creativity, unleashed through her mobile phone.
New York-based photographeruses two distinct techniques to capture nature's more subtle and interesting beauty that is often beyond the visible.
What defines a "realistic" portrait in the age of FaceTime, Google Hangouts, selfies and Snapchat? A mother of three teenage kids immersed in technology explores the boundaries of portraiture with Millennials.
It's nearly impossible to visualize the Big Bang—but with one bullet, one piece of plexiglass and a creative eye, these photos offer a place to start.