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<!-- /*--><!--/*--> "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> SABI NAIJA BLOG: Aritstic Duo Takes High Fashion Photography And Pushes It to An Uncomfortable Perfection

Friday 6 March 2015

Aritstic Duo Takes High Fashion Photography And Pushes It to An Uncomfortable Perfection

 Artistic duo Sandrine Dulermo and Michael Labica turn a strange eye to photography, as they create worlds filled with plastic-like women with color palettes to die for. Having done many photo shoots for celebrities and fashion clients, their photography style is a mix of high-fashion shoots and Hitchcock movie scenes.

Their use of dramatic lighting and cinematic sets create an eerie, yet playful, sense of mystery. In the series How to Spend It, a woman that seems to be frozen in an artificial stance like a mannequin, lounges around in extreme luxury.

Her all-too-perfect house matches her synthetic and impossibly perfect look. Still, the scene seems too flawless, causing a sense of secrecy.



 In the Dolls House, a more playful yet dark series of the dynamic duo, contains a palpable sense of madness. With the intense lighting and absurd make up, this series contains a girl who looks shockingly like a doll. Her limbs are limp and motionless, as if she has been placed like a child’s play thing in her dollhouse. Dulermo and Labica’s sense of color is absolutely breathtaking, as their photography, specifically this series, holds brilliant, bursting hues. However, these seemingly bright and cheery scenes have disturbing and dark undertones.

 The doll-like girl seems to have no life in her body. She is pale, expressionless, and without emotion. She is trapped in her perfect world, similar to the woman in the previously mentioned series.  Both women hold a hollow sense of plasticity that renders them lifeless.

Sandrine Dulermo and Micahel Labica are masters at creating cinematic, compelling photography with an irresistible palette. They construct uncanny, eerie scenes that are both undeniably appealing and unsettling.












Photo credit Christina Nafziger

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