Dark art
4841 creative works found
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[Origin: 1200–50; ME dreem, OE dréam joy, mirth, gladness, c. OS dr�?m mirth, dream, ON draumr, OHG troum dream; modern sense first recorded in ME but presumably also current in OE, as in OS] —Synonyms 1. Dream, nightmare, and vision refer to the kinds of mental images that form during sleep. Dream is the general term for any such succession of images. A nightmare is a dream that brings fear or anxiety: frightened by a nightmare. Vision refers to a series of images of unusual vividness, clarity, order, and significance, sometimes seen in a dream.
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An old Holden I snapped in the backstreets of Fitzroy, Melbourne. Bit of obvious PS work on it. Texture overlays, used the PS warp tool to alter the chrome fender into tusks and the background was removed and replaced with something a little more thematic.
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Taken in London EC3 COLOUR PORTFOLIO IN THE MOMENT – PHOTOJOURNALISM URBAN DECOR ARCHITECTURAL MOTHER NATURE SUBLIME GRIME PORTRAITURE
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Waverley Art Prize Finalist / In the Moment Finalist – published
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Enjoy!
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Stock by Dimagerstock at deviantart
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COLOUR PORTFOLIO IN THE MOMENT – PHOTOJOURNALISM URBAN DECOR ARCHITECTURAL MOTHER NATURE SUBLIME GRIME PORTRAITURE
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SOLD: 3 Laminated prints / 6 cards Taken on the Hunter River. This is my most popular image….and it’s my best ever infrared. / / / / / /
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Resign! Now!
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Turn around is fair play , and it’s just as funny when the shoes on the other foot, or in this case , the foots on the other charm ! Top Selling Tees / / /
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Desire
by Manolya F.to touch an another life like you know it more than thousand years.. waiting for even without sleep for one hour.. now come and see my desire in these bloody eyes.. This work sold as cards
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não há banda….. não há orquesta…..... silêncio! ’’music at funeral..must be the dying one’s music of life.. because there is always a melody attends us for a lifetime.. some runs circles, some goes faster, some are lyrical and some sad.. but the worst one stops suddenly.. which you cant understand if it ended or not.. thats the suicide.. mine was a little different than this.. cause love was a suicide from the beginning.. for that reason play a sad song at my funeral.. which is rainy.. which has rose smell.. which has no color, no taste inside.. and which ends suddenly.. this is the last time I commit suicide..’‘ stocks from / http://gilraen-stock.deviantart.com/ / http://venommistress.deviantart.com/ This work sold as card, mounted print and mostly framed print /
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/ / Also available- /
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Stocks from DA and sxc.hu / http://bumimanusiastock.deviantart.com/ / http://tracie76stock.deviantart.com/ / http://tash-stock.deviantart.com/ / http://lockstock.deviantart.com/ / http://marknewman.deviantart.com/ Published under Mark Newman’s permission MY ZODIAC SERIES / / /
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Stocks from Deviantart and sxc.hu / http://myruso.deviantart.com/ / http://pendlestock.deviantart.com/ This work sold as Framed print © Manolya F 2008. All rights reserved. / You may not reproduce, modify, distribute, publicly display or perform, or prepare derivative works by using my works.
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I’m a bit of a goose, I had the title spelled wrong the whole time. thank you for all the wonderful comments. :)
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A new illustration I’ve been working on, continuing to experiment with some slightly different ways of working.
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stocks from / http://blacksockstock.deviantart.com/ / http://mjranum-stock.deviantart.com/ / MCN: C7253-351B9-6B516 © Manolya F 2008. All rights reserved. / You may not reproduce, modify, distribute, publicly display or perform, or prepare derivative works by using my works.
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(c) Sarah Moore 2008 Lighthouse and Balloon Stock
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it’s easy to only focus on the sadness inherent in an old derelict building like teton. / when you know the misery in the history of a asylum, and you see / only the ruins of what it once was, you sometimes become blinded / by the macabre and morose, by thwarted hopes and unchecked corruption. / if this is all you see – in an abandoned building, in your own life, in the world around you / it’s easy to feel that perhaps it would be best to erase it all, to hide everything away / so deep that it can’t encroach upon your fleeting comforts and contentment. / but, in this place where such terrible, tragic things occurred / there is something else that resides there – sometimes in the brilliant green ivy / that works its way into cracks and crevasses the way lovers’ fingers entwine, / sometimes in the softness of the wind, or the stillness of untouched afternoon sunlight – or / the way gravity welcomes the falling rafters back to the earth and time / absolves its past in the oblivion of unmolested sleep. teton had such beauty – in / the sincerely charitable ambitions that built it, in the graceful forms of its architect’s true design, / in the naive hope of the many who genuinely believed it could bring a cure for the ill, / and in those confined who stole friendships and dignity from the greedy hands of / disgrace and neglect. if you can’t see these things, you’ll never understand why i do what i do. / photographs capture slivers of time. they preserve a point of view, a moment / that would otherwise be forever lost. if you seek truth through them, / maybe you can illuminate the soul of a thing, and maybe show someone else / the proud glory and splendor of the forgotten and forsaken. / the triumphs and frailties of human endeavor may now be heard only in echoes, / but i guarantee you if you are quiet and you listen / you will hear not screams of agony and anguish, but the sweet serenity of final release. / if you approach the past with humility and reverence in your heart you’ll realize that / immortality is not something anyone can ever capture – but if you are very lucky, / through a photograph perhaps you may capture a glimpse, / a fleeting moment of something that, in its own abstract and inexplicable way, / proves beyond a doubt that nothing ever dies. / —-—-—-—-—-—-- photo taken at teton state hospital / more of my work is on www.abandonedamerica.org / please check out my new book, filled with photos and text – the link is on my site’s main page!
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Many thanks for viewing.
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From the article “Images that Intrigue” by Peter Skinner www.aftercapture.com A superb example of a campaign eliciting / that emotional response is one of / Dean’s most recent success stories—images / for an ongoing series, “Fabricate,” for / couture designers MXM Couture (www. / mxmcouture.com). Significantly, the initial / two images in the “Fabricate” campaign / claimed first and second place in / the latest Commercial/Advertising Photographer / of the Year International Aper-ture Awards. In the only other competition / Dean has entered—as a student—he / claimed a gold and silver distinction and / a runner-up award for prints in the annual / Australian Professional Photographers / Association awards. / “ ‘Fabricate’ is a collaboration of / some of the best stylists and production / people that Australia has to offer / and I feel it definitely shows. There will / be five images in the series and the first / two took months to produce so there are / still three more to complete. It’s a really / exciting campaign,” says Dean. / “Fabricate,” as Dean explains, has a / double meaning and is an exploration / into conceptualization; its execution / is definitely a mental exercise. “ ‘Fabricate’ / refers both to the subject of fashion / photography, the clothes, and more / importantly to the images’ fabrication—how they are created in the sense that / they are highly stylized pre- and postproduction / collages,” he says. / Each image is designed and created / with the intention of arousing intense curiosity / and examination into not only its / finality but also how it was made and its / underlying theme. “The images turn the / exhibition of fashion through photography / back on itself by exposing the process / of exhibition itself—exhibiting the / exhibit, if you will,” says Dean. While this / is a classic case of a picture being worth a / thousand words, Dean points out that the / multi-layered images allow viewers to analyze / the process of digital photography itself, / which incorporates surreally collaged / objects or has perfectly manicured and / poised models caught in mid-jump. / “The series is united by a sense of volatility,” / Dean says. “Subjects are frozen within / turbulent scenes. This chaos, depicted / through flapping wings, flowing dresses / and crashing objects, is meant to reflect / the flippant, fleeting and unstable nature / of the fashion industry. And yet within this / chaos each image captures an ephemeral / moment of beauty, allowing the models to / maintain their dominance—to which the / audience is unwittingly subjected.” Scrutinize / the superb images and you will see / exactly what he means. / As with all complex and multi-faceted / campaigns, the genesis of “Fabricate” has / been long and demanding. Several months / were devoted to drafting the original concepts, / set building, hair and costume design. / Each image is multi-layered and the / set design was a combination of over 20 / different elements. All backgrounds for / the series’ images were shot in an old museum, / a location that provided ideal elements / such as walls, floors and windows. / A major technical challenge was ensuring / consistency of lighting—its quality, intensity / and direction. A Sydney retouching / company, Electric Art (www.electricart. / com.au), was hired for conformity maintenance— / to ensure the same look and feel / was infused into each image, / With two “Fabricate” images under / his belt, Dean is now working on the remaining / three but no specifics have been / finalized—although the models have / been selected and some shooting on various / elements has been completed. Don’t / be surprised, however, if themes such as / exorcism, dead swans and models in dark / or macabre locations are featured.
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