Photographic soap bubble studies by Santiago Betancur Z that look like planets
Photographer and painter Santiago Betancur Z explores the intersection between science and abstract art in his photographic studies of bubbles, as well as producing life-size figure painting. In his photographs and video recordings, Betancur Z captures imagery of soap bubbles against dark backgrounds, showcasing the random kaleidoscopic color and light effects produced by the delicate spheres, and the chance allusions that occur in their surfaces
Paintings by Oscar Sancho Nin
“I’m a painter from Spain and I love the beauty of black. For me the color black represents magnetism, power, elegance, and an opacity, which with the contrast of white or other colours emphasize the intensity of form. My paintings are often inspired by the dark and mystery, the past and the contemporarity.
I work too in color… For me color transmits the soul of a painting, and adds more sense to the themes that I paint. Use of color, contrast and also the composition are never left to fate in my paintings, it´s often very calculated.
The materials, which I work in, are acrylic on canvas, and I like to paint portraits, enigmatic forms with a mixture of abstraction. For me they are archetypes.
I never stop experimenting. I like to try with different themes, or different styles, always in evolution; I am not that kind of person that bores of repeating always the same formula. My influences are Goya, Francis Bacon, and Picasso, all the great contemporary masters. Anyway over the influences prevails my own approach. “
- Oscar Sancho Nin
Zach Blas: Facial Weaponization Suite, 2011- Present
Facial Weaponization Suite protests against biometric facial recognition–and the inequalities these technologies propagate–by making “collective masks” in community-based workshops that are modeled from the aggregated facial data of participants, resulting in amorphous masks that cannot be detected as human faces by biometric facial recognition technologies. The masks are used for public interventions and performances. One mask, the Fag Face Mask, generated from the biometric facial data of many queer men’s faces, is a response to scientific studies that link determining sexual orientation through rapid facial recognition techniques. Another mask explores a tripartite conception of blackness, divided between biometric racism (the inability of biometric technologies to detect dark skin), the favoring of black in militant aesthetics, and black as that which informatically obfuscates. A third mask engages feminism’s relations to concealment and imperceptibility, taking recent veil legislation in France as a troubling site that turns visibility into an oppressive logic of control. A fourth mask takes up biometrics’ deployment as a border security technology at the Mexico-US border and the resulting violence and nationalism it instigates. These masks intersect with social movements’ use of masking as an opaque tool of collective transformation that refuses dominant forms of political representation.
"Our wisdom is all mixed up with what we call our neurosis. Our brilliance, our juiciness, our spiciness, is all mixed up with our craziness and our confusion, and therefore it doesn’t do any any good to try to get rid of our so-called negative aspects, because in that process we also get rid of our basic wonderfulness."