“Pixelhead is a simple balaclava made with an elastic fabric very similar to swimsuit material. Its aesthetic appearance, however, is quite specific: the decorative pattern chosen by Martin Backes is indeed “pixelated” and the colour palette is similar to those that a face or a head shot would have if photographed by a digital camera. Pixelhead has been created as a garment for urban survival: worn in the daily hustle and bustle it makes faces unidentifiable if pictured or recorded by surveillance cameras. Intuitively we could describe this object as “camouflage.” This definition, however, has in itself a surprising reversal of perspective. The ancient concept of mimesis is in fact that of imitation of nature and the world. But Pixelhead operates its mimesis towards an environment that is not natural anymore. Being “mimetic” in this project means, instead, to emphasize a profound and urgent transformation: to defend our privacy in (physical) reality we must adapt as much as possible to the technologies of control, implemented in the thousand eyes of the machines looking at us. Those eyes are a constant and continuous filter through which everything is read, encrypted and processed. ”
“The work deFacebook by Indian artist Nandan Ghiya consists of a series of portraits made from images taken from popular social networks and physically printed on canvas. The selected photos are classic half-length or full-figured portraits, (partially) set up according to the classical canons of the family portrait. The wooden or golden frames are thick and heavy. Together with the hue of the pictures, which often changes to sepia, they give the images a nostalgic antique mood. This aesthetic vintage effect is functional, engendering a sense of disruptive irony. Some parts of the pictures (often the faces) have been modified using very apparent and colourful glitch effects. This is underlined by a subtle but crucial characteristic: the frames of the paintings retain their classical rigor in the colours and materials but they follow every whim of the glitched pixels which overflow the profiles, breaking the hardness and regularity of the classical frames. With this refined aesthetic expedient, the artist looks to disrupt the style of the classic portrait. The transition to digital of the public representation of the self (once the family portrait) became engrained after Facebook. The subjectivity, so fixed on canvas, is represented in all its fragility, creating effective effigies of the modern portrait – even more impressive because of the errors in the unstructured faces.”
According to Chrystal Bougon, owner of plus-size lingerie store Curvy Girl, “There are so many pictures of models in lingerie, but I’m constantly asked for pictures of our products on ‘regular’ bodies… In the fashion world, anything over size 4 is considered plus-size. I know, it’s a big joke.”
Bougon stated: “Inspired by a customer, I wanted to show that women with rolls, bumps, lumps, scars, stretch marks, surgery scars and natural breasts that have nursed babies can be stunning and beautiful.” And women have responded in full-force, posting their own photos to Curvy Girl’s Facebook page in high numbers.
Source: Huffington Post