Fabric
3 members found
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Fabrice Rivart
Australia
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Fabrice
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fabrice chaix
France
979 creative works found
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Model: Lulu Wagstaffe / MUA: Dylan Senthilan / Styling/Direction/Photography: Myself / Assistant: my housemate Brendan:D (i exploit ppl) I made the dress out of Pleasure State bra + Cotton On free Belt + 3 meters of fabric! Laggings are American Apparel!! / The shot is taken in my bathroom, with two still lights held fr5om top and side, with a Canon Eos 350D Digital Rebel Tx + 35mm 2.8f Lens
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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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taken during the Art in All of Us visit in a rural school close to Segou, Mali If you want to see the children works of Mali please visit http://www.artinallofus.org/artimages/cat45.htm All proceeds from sales of pictures will go to the art education project of Art in All of Us (WWW.ARTINALLOFUS.ORG)
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available in art version too
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SP / 08.03.09 Copyright
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Silence may be the fabric upon which music is woven... but Cog prefers to let it rip
by IncognitaUS$29.93
Someone once told Incognita that silence was the speech of angels. She immediately resolved to take up bagpipes, drums and violin. BTW More than half the world’s 6,000 languages will be gone by the end of the century . >
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Copyright / The Truth shall Set Me Free I will fight this fight / These footsteps pressing downward / And I will break these chains / That bind me from myself / So now I can say / / I will walk this path / Right down your false direction / I will find myself / Tear open these eyes / And now I can say / The truth shall set me free When the sun is gone / And the rain starts to fall / I will be the one / I will rise through it all I will take this chance / To break from your traditions / And I will burn your worth / I’ll burn all that you said / And I’ll finally face this day / With my eyes open wide / And I will erase your lies / Tear off this disguise / And now I can say / The truth shall set me free When the sun is gone / And the rain starts to fall / I will be the one / I will rise through it all / When the sun is gone / And the rain starts to fall / I will be the one / I will rise… / Rise up through it all Rise through it all / Rise through it all / Your lies And I will be the one to rise up through…all / The truth shall set me free / The truth shall set me free I will / I will…rise / Through this I will….rise / Through this I will rise / The truth shall set me free When the sun is gone / And the rain starts to fall / I will be the one / I will rise through it all / When the sun is gone / And the rain starts to fall / I will be the one / I will rise… / Rise up through it all Rise through it all / Rise through it all by Story of the Year
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White tulips on an American flag.
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A red satin pump sitting on a chair in a NYC thrift shop window. Cindy must be trying on the other one. Click once on image to enlarge. / / /
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Featured in THE SISTERHOOD June 09 Special thanks to Marg for the props! lol xox ;) Reach for the Light Deep in the night / The winds blow cold / And in a heartbeat / The fear takes hold Deep in the storm / There’s a place that’s soft and still / Where the road waits to be taken / If you only will The voices inside you / Can lead your soul astray / Believe in what you dream / Don’t turn away / Don’t you turn away Reach for the light / You might touch the sky / Stand on the mountaintop / And see yourself flying / Reach for the light / To capture a star / Come out of the darkness / And find out who you are Somewhere in time / The truth shines through / And the spirit knows / What it has to do Somewhere in you / There’s a power with no name / It can rise to meet the moment / And burn like a flame And you can be stronger / Than anything you know / Hold on to what you see / Don’t let it go / Don’t you let it go Now, there’s no turning back / When your destiny is calling / Listen to the thunder roll / And let your heart break free Reach for the light Steve Winwood
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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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illustration inspired by the little sparrow i saw outside my kitchen window this morning…
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