Where pressure takes place, life manifests a great survival desire and energy.
Through an extensive use of CGI techniques commercial photography and post-production, the show RIGGED highlights the labor inherent in the creation of images, looking at the position the female body has occupied in the history of digital image technology.
Specifically I am looking for dialogues; the dialogues between foreground and background, objects and subjects, past and present…
I wondered if disparate individuals from countries halfway around the world could work together in real time as a positive model for creation rather than destruction.
Nomusa Makhubu uses her work as a means of critiquing the socio-political environment as well as an important means of reflection of the everyday lives of people.
This project plays with lost and reclaimed identity, queries authenticity, toys with the artist’s intervention/intention to inject uniqueness into mass-produced objects, and calls into question the systems of presentation and representation.
What is the self? How can you be individual in the overwhelming power of social, political and cultural conventions and agreements? Can one be authentic in the age of absolute medial visibility, where everything is observed, recorded and shared?
Disturbing the Spirits deals with both reality and time (past/present/future) and my growing attachment to the healing powers of the natural environment.
Photography is the second nature of our lives, offering us infinite viewpoints and promises for pleasure, whose fulfillment gets pushed farther and farther away into the future, thus replacing reality with illusion.
In ‘Deeply in Love’ Gülan, indirectly refers to the ‘The Last Judgment’ (1537–1541) the grand fresco by the Italian Renaissance master Michelangelo painted on the altar of the Sistine Chapel.