pallet-town-julie-brown:

avatati:

medinabigmom:

64 year old cosplayer, I’m not sure that is sad or cool, but he sure knows how to cosplay!

What do you mean sad, this is super cool!

your life is sad, if you can’t be that dope when you’re 64
pallet-town-julie-brown:

avatati:

medinabigmom:

64 year old cosplayer, I’m not sure that is sad or cool, but he sure knows how to cosplay!

What do you mean sad, this is super cool!

your life is sad, if you can’t be that dope when you’re 64
pallet-town-julie-brown:

avatati:

medinabigmom:

64 year old cosplayer, I’m not sure that is sad or cool, but he sure knows how to cosplay!

What do you mean sad, this is super cool!

your life is sad, if you can’t be that dope when you’re 64
pallet-town-julie-brown:

avatati:

medinabigmom:

64 year old cosplayer, I’m not sure that is sad or cool, but he sure knows how to cosplay!

What do you mean sad, this is super cool!

your life is sad, if you can’t be that dope when you’re 64
pallet-town-julie-brown:

avatati:

medinabigmom:

64 year old cosplayer, I’m not sure that is sad or cool, but he sure knows how to cosplay!

What do you mean sad, this is super cool!

your life is sad, if you can’t be that dope when you’re 64
pallet-town-julie-brown:

avatati:

medinabigmom:

64 year old cosplayer, I’m not sure that is sad or cool, but he sure knows how to cosplay!

What do you mean sad, this is super cool!

your life is sad, if you can’t be that dope when you’re 64
pallet-town-julie-brown:

avatati:

medinabigmom:

64 year old cosplayer, I’m not sure that is sad or cool, but he sure knows how to cosplay!

What do you mean sad, this is super cool!

your life is sad, if you can’t be that dope when you’re 64
pallet-town-julie-brown:

avatati:

medinabigmom:

64 year old cosplayer, I’m not sure that is sad or cool, but he sure knows how to cosplay!

What do you mean sad, this is super cool!

your life is sad, if you can’t be that dope when you’re 64

pallet-town-julie-brown:

avatati:

medinabigmom:

64 year old cosplayer, I’m not sure that is sad or cool, but he sure knows how to cosplay!

What do you mean sad, this is super cool!

your life is sad, if you can’t be that dope when you’re 64

(via redmiel)

asylum-art:

Nadia Wicker Photography 
on Behance
French photographer Nadia Wicker is an illusion artists, a master in the art of transporting oneself into their own visual universe.  Self-taught photographer and makeup artist, Wicker works in the genres of fashion and fine-art photography.
asylum-art:

Nadia Wicker Photography 
on Behance
French photographer Nadia Wicker is an illusion artists, a master in the art of transporting oneself into their own visual universe.  Self-taught photographer and makeup artist, Wicker works in the genres of fashion and fine-art photography.
asylum-art:

Nadia Wicker Photography 
on Behance
French photographer Nadia Wicker is an illusion artists, a master in the art of transporting oneself into their own visual universe.  Self-taught photographer and makeup artist, Wicker works in the genres of fashion and fine-art photography.
asylum-art:

Nadia Wicker Photography 
on Behance
French photographer Nadia Wicker is an illusion artists, a master in the art of transporting oneself into their own visual universe.  Self-taught photographer and makeup artist, Wicker works in the genres of fashion and fine-art photography.
asylum-art:

Nadia Wicker Photography 
on Behance
French photographer Nadia Wicker is an illusion artists, a master in the art of transporting oneself into their own visual universe.  Self-taught photographer and makeup artist, Wicker works in the genres of fashion and fine-art photography.
asylum-art:

Nadia Wicker Photography 
on Behance
French photographer Nadia Wicker is an illusion artists, a master in the art of transporting oneself into their own visual universe.  Self-taught photographer and makeup artist, Wicker works in the genres of fashion and fine-art photography.
asylum-art:

Nadia Wicker Photography 
on Behance
French photographer Nadia Wicker is an illusion artists, a master in the art of transporting oneself into their own visual universe.  Self-taught photographer and makeup artist, Wicker works in the genres of fashion and fine-art photography.
asylum-art:

Nadia Wicker Photography 
on Behance
French photographer Nadia Wicker is an illusion artists, a master in the art of transporting oneself into their own visual universe.  Self-taught photographer and makeup artist, Wicker works in the genres of fashion and fine-art photography.

asylum-art:

Nadia Wicker Photography

on Behance

French photographer Nadia Wicker is an illusion artists, a master in the art of transporting oneself into their own visual universe.
Self-taught photographer and makeup artist, Wicker works in the genres of fashion and fine-art photography.

orano:

Philippe Druillet  (B. 1944 Toulouse)

For Salammbô by Gustave Flaubert - 1981 - Pilote Magazine

(via lupevision)

pleatedjeans:

asking for help
pleatedjeans:

asking for help
pleatedjeans:

asking for help

WARNING: DO NOT BUY THIS DOG FOOD

loudblackram:

plushestrumpest:

image

DO NOT BUY THIS BRAND.

Pedigree is on a nationwide recall.

Pedigree made my 6 month old puppy too ill to eat anything for days.

If you have this brand please toss it and buy Purina, Science Diet, or Blue.

Please do not feed this to you animals.

Do not buy this brand.

It’s true

Since our late doberman, we haven’t fed Pedigree or any other cheap super market dog food shite to our dogs, as we believed the artificial substances put in the food may have contributed to him developing cancer - twice. We may never know if that’s true or not, so feel free to take this with a grain of salt, but six completely healthy, non-super market fed dogs later, me and my sisters remain unconvinced Pedigree, Purina, and whatever else should ever be fed to your pet. I’d recommend buying Royal Canine or Eagle Pack, if some brand must be used.

(via redmiel)

asylum-art:

Paulina Otylie Surys:  Gohic Photography
Paulina Otylie Surys is a fashion photographer with a unique practice. Having trained in classical painting, she made a decision to take up screen printing around two years ago and through that “found [her] way towards photography.” Using innovative combinations of toners and inks over dry dyes, on silver gelatin fibre paper, Surys creates haunting, pseudo-gothic works embued with a heightened sense of drama and compostition. This approach works in perfect juxtapostion to the modern clothing and appearance of her models
asylum-art:

Paulina Otylie Surys:  Gohic Photography
Paulina Otylie Surys is a fashion photographer with a unique practice. Having trained in classical painting, she made a decision to take up screen printing around two years ago and through that “found [her] way towards photography.” Using innovative combinations of toners and inks over dry dyes, on silver gelatin fibre paper, Surys creates haunting, pseudo-gothic works embued with a heightened sense of drama and compostition. This approach works in perfect juxtapostion to the modern clothing and appearance of her models
asylum-art:

Paulina Otylie Surys:  Gohic Photography
Paulina Otylie Surys is a fashion photographer with a unique practice. Having trained in classical painting, she made a decision to take up screen printing around two years ago and through that “found [her] way towards photography.” Using innovative combinations of toners and inks over dry dyes, on silver gelatin fibre paper, Surys creates haunting, pseudo-gothic works embued with a heightened sense of drama and compostition. This approach works in perfect juxtapostion to the modern clothing and appearance of her models
asylum-art:

Paulina Otylie Surys:  Gohic Photography
Paulina Otylie Surys is a fashion photographer with a unique practice. Having trained in classical painting, she made a decision to take up screen printing around two years ago and through that “found [her] way towards photography.” Using innovative combinations of toners and inks over dry dyes, on silver gelatin fibre paper, Surys creates haunting, pseudo-gothic works embued with a heightened sense of drama and compostition. This approach works in perfect juxtapostion to the modern clothing and appearance of her models
asylum-art:

Paulina Otylie Surys:  Gohic Photography
Paulina Otylie Surys is a fashion photographer with a unique practice. Having trained in classical painting, she made a decision to take up screen printing around two years ago and through that “found [her] way towards photography.” Using innovative combinations of toners and inks over dry dyes, on silver gelatin fibre paper, Surys creates haunting, pseudo-gothic works embued with a heightened sense of drama and compostition. This approach works in perfect juxtapostion to the modern clothing and appearance of her models
asylum-art:

Paulina Otylie Surys:  Gohic Photography
Paulina Otylie Surys is a fashion photographer with a unique practice. Having trained in classical painting, she made a decision to take up screen printing around two years ago and through that “found [her] way towards photography.” Using innovative combinations of toners and inks over dry dyes, on silver gelatin fibre paper, Surys creates haunting, pseudo-gothic works embued with a heightened sense of drama and compostition. This approach works in perfect juxtapostion to the modern clothing and appearance of her models
asylum-art:

Paulina Otylie Surys:  Gohic Photography
Paulina Otylie Surys is a fashion photographer with a unique practice. Having trained in classical painting, she made a decision to take up screen printing around two years ago and through that “found [her] way towards photography.” Using innovative combinations of toners and inks over dry dyes, on silver gelatin fibre paper, Surys creates haunting, pseudo-gothic works embued with a heightened sense of drama and compostition. This approach works in perfect juxtapostion to the modern clothing and appearance of her models
asylum-art:

Paulina Otylie Surys:  Gohic Photography
Paulina Otylie Surys is a fashion photographer with a unique practice. Having trained in classical painting, she made a decision to take up screen printing around two years ago and through that “found [her] way towards photography.” Using innovative combinations of toners and inks over dry dyes, on silver gelatin fibre paper, Surys creates haunting, pseudo-gothic works embued with a heightened sense of drama and compostition. This approach works in perfect juxtapostion to the modern clothing and appearance of her models
asylum-art:

Paulina Otylie Surys:  Gohic Photography
Paulina Otylie Surys is a fashion photographer with a unique practice. Having trained in classical painting, she made a decision to take up screen printing around two years ago and through that “found [her] way towards photography.” Using innovative combinations of toners and inks over dry dyes, on silver gelatin fibre paper, Surys creates haunting, pseudo-gothic works embued with a heightened sense of drama and compostition. This approach works in perfect juxtapostion to the modern clothing and appearance of her models
asylum-art:

Paulina Otylie Surys:  Gohic Photography
Paulina Otylie Surys is a fashion photographer with a unique practice. Having trained in classical painting, she made a decision to take up screen printing around two years ago and through that “found [her] way towards photography.” Using innovative combinations of toners and inks over dry dyes, on silver gelatin fibre paper, Surys creates haunting, pseudo-gothic works embued with a heightened sense of drama and compostition. This approach works in perfect juxtapostion to the modern clothing and appearance of her models

asylum-art:

Paulina Otylie Surys:  Gohic Photography

Paulina Otylie Surys is a fashion photographer with a unique practice. Having trained in classical painting, she made a decision to take up screen printing around two years ago and through that “found [her] way towards photography.” Using innovative combinations of toners and inks over dry dyes, on silver gelatin fibre paper, Surys creates haunting, pseudo-gothic works embued with a heightened sense of drama and compostition. This approach works in perfect juxtapostion to the modern clothing and appearance of her models

(via asylum-art)

kekai-k:

phantomdaisyaurorachild:

kekai-k:

The Knights 2 (complete)

DIS IS GORGEOUS

Thank you
kekai-k:

phantomdaisyaurorachild:

kekai-k:

The Knights 2 (complete)

DIS IS GORGEOUS

Thank you
kekai-k:

phantomdaisyaurorachild:

kekai-k:

The Knights 2 (complete)

DIS IS GORGEOUS

Thank you
kekai-k:

phantomdaisyaurorachild:

kekai-k:

The Knights 2 (complete)

DIS IS GORGEOUS

Thank you
kekai-k:

phantomdaisyaurorachild:

kekai-k:

The Knights 2 (complete)

DIS IS GORGEOUS

Thank you
kekai-k:

phantomdaisyaurorachild:

kekai-k:

The Knights 2 (complete)

DIS IS GORGEOUS

Thank you
kekai-k:

phantomdaisyaurorachild:

kekai-k:

The Knights 2 (complete)

DIS IS GORGEOUS

Thank you
kekai-k:

phantomdaisyaurorachild:

kekai-k:

The Knights 2 (complete)

DIS IS GORGEOUS

Thank you
kekai-k:

phantomdaisyaurorachild:

kekai-k:

The Knights 2 (complete)

DIS IS GORGEOUS

Thank you
kekai-k:

phantomdaisyaurorachild:

kekai-k:

The Knights 2 (complete)

DIS IS GORGEOUS

Thank you
asylum-art:

Grotesque Portraits of People In Layers of Junk Food Convey Dangers of Mass Production by James OstrerPost-apocalyptic monsters molded from processed goods and sugar
Junk food tastes great going down, but when you look at it in the right light, you realize it’s something that probably shouldn’t be going inside your body. To highlight the corruption of globalisation, along with the increasingly dangerous methods of food production, photographer James Ostrer has created a series called “Wotsit All About.” It features people that look more like monsters hidden beneath layers of sweets and processed goods – with the end result being a hideous thing to behold.
asylum-art:

Grotesque Portraits of People In Layers of Junk Food Convey Dangers of Mass Production by James OstrerPost-apocalyptic monsters molded from processed goods and sugar
Junk food tastes great going down, but when you look at it in the right light, you realize it’s something that probably shouldn’t be going inside your body. To highlight the corruption of globalisation, along with the increasingly dangerous methods of food production, photographer James Ostrer has created a series called “Wotsit All About.” It features people that look more like monsters hidden beneath layers of sweets and processed goods – with the end result being a hideous thing to behold.
asylum-art:

Grotesque Portraits of People In Layers of Junk Food Convey Dangers of Mass Production by James OstrerPost-apocalyptic monsters molded from processed goods and sugar
Junk food tastes great going down, but when you look at it in the right light, you realize it’s something that probably shouldn’t be going inside your body. To highlight the corruption of globalisation, along with the increasingly dangerous methods of food production, photographer James Ostrer has created a series called “Wotsit All About.” It features people that look more like monsters hidden beneath layers of sweets and processed goods – with the end result being a hideous thing to behold.
asylum-art:

Grotesque Portraits of People In Layers of Junk Food Convey Dangers of Mass Production by James OstrerPost-apocalyptic monsters molded from processed goods and sugar
Junk food tastes great going down, but when you look at it in the right light, you realize it’s something that probably shouldn’t be going inside your body. To highlight the corruption of globalisation, along with the increasingly dangerous methods of food production, photographer James Ostrer has created a series called “Wotsit All About.” It features people that look more like monsters hidden beneath layers of sweets and processed goods – with the end result being a hideous thing to behold.
asylum-art:

Grotesque Portraits of People In Layers of Junk Food Convey Dangers of Mass Production by James OstrerPost-apocalyptic monsters molded from processed goods and sugar
Junk food tastes great going down, but when you look at it in the right light, you realize it’s something that probably shouldn’t be going inside your body. To highlight the corruption of globalisation, along with the increasingly dangerous methods of food production, photographer James Ostrer has created a series called “Wotsit All About.” It features people that look more like monsters hidden beneath layers of sweets and processed goods – with the end result being a hideous thing to behold.
asylum-art:

Grotesque Portraits of People In Layers of Junk Food Convey Dangers of Mass Production by James OstrerPost-apocalyptic monsters molded from processed goods and sugar
Junk food tastes great going down, but when you look at it in the right light, you realize it’s something that probably shouldn’t be going inside your body. To highlight the corruption of globalisation, along with the increasingly dangerous methods of food production, photographer James Ostrer has created a series called “Wotsit All About.” It features people that look more like monsters hidden beneath layers of sweets and processed goods – with the end result being a hideous thing to behold.

asylum-art:

Grotesque Portraits of People In Layers of Junk Food Convey Dangers of Mass Production by James OstrerPost-apocalyptic monsters molded from processed goods and sugar

Junk food tastes great going down, but when you look at it in the right light, you realize it’s something that probably shouldn’t be going inside your body. To highlight the corruption of globalisation, along with the increasingly dangerous methods of food production, photographer James Ostrer has created a series called “Wotsit All About.” It features people that look more like monsters hidden beneath layers of sweets and processed goods – with the end result being a hideous thing to behold.

(via asylum-art)

asylum-art:

Inspirational Art by Kenyan ArtistbWangechi Mutu
Wangechi Mutu is an African artist renowned for her haunting and dramatic female figures. An artist from Nairobi, Kenya, Mutu creates painted and collaged images of the female body offering a commentary on feminist and racial issues such as the history of women’s representation, cultural migration, global identity, colonial legacies, exoticism, and voyeuristic fascination.
Mutu’s work has been featured in museums and galleries all around the world exhibited in the San Francisco Museum of Modern Art, the Miami Art Museum, Tate Modern in London, the Studio Museum in Harlem in New York, Kunstpalast Dusseldorf in Germany, and the Centre Pompidou in Paris. She participated in the 2004 Gwangju Biennale in South Korea. Her work has been featured in several major exhibitions including Greater New York at the P.S.1 Contemporary Art Center and The Museum of Modern Art in New York, Black President at the New Museum of Contemporary Art in New York and the Barbican in London, and USA Today at The Royal Academy in London. As a unique visual artist Mutu’s work has important political and social implications.
Wangechi Mutu observes: “Females carry the marks, language and nuances of their culture more than the male. Anything that is desired or despised is always placed on the female body.” Piecing together magazine imagery with painted surfaces and found materials, Mutu’s collages explore the split nature of cultural identity, referencing colonial history, fashion and contemporary African politics.
asylum-art:

Inspirational Art by Kenyan ArtistbWangechi Mutu
Wangechi Mutu is an African artist renowned for her haunting and dramatic female figures. An artist from Nairobi, Kenya, Mutu creates painted and collaged images of the female body offering a commentary on feminist and racial issues such as the history of women’s representation, cultural migration, global identity, colonial legacies, exoticism, and voyeuristic fascination.
Mutu’s work has been featured in museums and galleries all around the world exhibited in the San Francisco Museum of Modern Art, the Miami Art Museum, Tate Modern in London, the Studio Museum in Harlem in New York, Kunstpalast Dusseldorf in Germany, and the Centre Pompidou in Paris. She participated in the 2004 Gwangju Biennale in South Korea. Her work has been featured in several major exhibitions including Greater New York at the P.S.1 Contemporary Art Center and The Museum of Modern Art in New York, Black President at the New Museum of Contemporary Art in New York and the Barbican in London, and USA Today at The Royal Academy in London. As a unique visual artist Mutu’s work has important political and social implications.
Wangechi Mutu observes: “Females carry the marks, language and nuances of their culture more than the male. Anything that is desired or despised is always placed on the female body.” Piecing together magazine imagery with painted surfaces and found materials, Mutu’s collages explore the split nature of cultural identity, referencing colonial history, fashion and contemporary African politics.
asylum-art:

Inspirational Art by Kenyan ArtistbWangechi Mutu
Wangechi Mutu is an African artist renowned for her haunting and dramatic female figures. An artist from Nairobi, Kenya, Mutu creates painted and collaged images of the female body offering a commentary on feminist and racial issues such as the history of women’s representation, cultural migration, global identity, colonial legacies, exoticism, and voyeuristic fascination.
Mutu’s work has been featured in museums and galleries all around the world exhibited in the San Francisco Museum of Modern Art, the Miami Art Museum, Tate Modern in London, the Studio Museum in Harlem in New York, Kunstpalast Dusseldorf in Germany, and the Centre Pompidou in Paris. She participated in the 2004 Gwangju Biennale in South Korea. Her work has been featured in several major exhibitions including Greater New York at the P.S.1 Contemporary Art Center and The Museum of Modern Art in New York, Black President at the New Museum of Contemporary Art in New York and the Barbican in London, and USA Today at The Royal Academy in London. As a unique visual artist Mutu’s work has important political and social implications.
Wangechi Mutu observes: “Females carry the marks, language and nuances of their culture more than the male. Anything that is desired or despised is always placed on the female body.” Piecing together magazine imagery with painted surfaces and found materials, Mutu’s collages explore the split nature of cultural identity, referencing colonial history, fashion and contemporary African politics.
asylum-art:

Inspirational Art by Kenyan ArtistbWangechi Mutu
Wangechi Mutu is an African artist renowned for her haunting and dramatic female figures. An artist from Nairobi, Kenya, Mutu creates painted and collaged images of the female body offering a commentary on feminist and racial issues such as the history of women’s representation, cultural migration, global identity, colonial legacies, exoticism, and voyeuristic fascination.
Mutu’s work has been featured in museums and galleries all around the world exhibited in the San Francisco Museum of Modern Art, the Miami Art Museum, Tate Modern in London, the Studio Museum in Harlem in New York, Kunstpalast Dusseldorf in Germany, and the Centre Pompidou in Paris. She participated in the 2004 Gwangju Biennale in South Korea. Her work has been featured in several major exhibitions including Greater New York at the P.S.1 Contemporary Art Center and The Museum of Modern Art in New York, Black President at the New Museum of Contemporary Art in New York and the Barbican in London, and USA Today at The Royal Academy in London. As a unique visual artist Mutu’s work has important political and social implications.
Wangechi Mutu observes: “Females carry the marks, language and nuances of their culture more than the male. Anything that is desired or despised is always placed on the female body.” Piecing together magazine imagery with painted surfaces and found materials, Mutu’s collages explore the split nature of cultural identity, referencing colonial history, fashion and contemporary African politics.
asylum-art:

Inspirational Art by Kenyan ArtistbWangechi Mutu
Wangechi Mutu is an African artist renowned for her haunting and dramatic female figures. An artist from Nairobi, Kenya, Mutu creates painted and collaged images of the female body offering a commentary on feminist and racial issues such as the history of women’s representation, cultural migration, global identity, colonial legacies, exoticism, and voyeuristic fascination.
Mutu’s work has been featured in museums and galleries all around the world exhibited in the San Francisco Museum of Modern Art, the Miami Art Museum, Tate Modern in London, the Studio Museum in Harlem in New York, Kunstpalast Dusseldorf in Germany, and the Centre Pompidou in Paris. She participated in the 2004 Gwangju Biennale in South Korea. Her work has been featured in several major exhibitions including Greater New York at the P.S.1 Contemporary Art Center and The Museum of Modern Art in New York, Black President at the New Museum of Contemporary Art in New York and the Barbican in London, and USA Today at The Royal Academy in London. As a unique visual artist Mutu’s work has important political and social implications.
Wangechi Mutu observes: “Females carry the marks, language and nuances of their culture more than the male. Anything that is desired or despised is always placed on the female body.” Piecing together magazine imagery with painted surfaces and found materials, Mutu’s collages explore the split nature of cultural identity, referencing colonial history, fashion and contemporary African politics.
asylum-art:

Inspirational Art by Kenyan ArtistbWangechi Mutu
Wangechi Mutu is an African artist renowned for her haunting and dramatic female figures. An artist from Nairobi, Kenya, Mutu creates painted and collaged images of the female body offering a commentary on feminist and racial issues such as the history of women’s representation, cultural migration, global identity, colonial legacies, exoticism, and voyeuristic fascination.
Mutu’s work has been featured in museums and galleries all around the world exhibited in the San Francisco Museum of Modern Art, the Miami Art Museum, Tate Modern in London, the Studio Museum in Harlem in New York, Kunstpalast Dusseldorf in Germany, and the Centre Pompidou in Paris. She participated in the 2004 Gwangju Biennale in South Korea. Her work has been featured in several major exhibitions including Greater New York at the P.S.1 Contemporary Art Center and The Museum of Modern Art in New York, Black President at the New Museum of Contemporary Art in New York and the Barbican in London, and USA Today at The Royal Academy in London. As a unique visual artist Mutu’s work has important political and social implications.
Wangechi Mutu observes: “Females carry the marks, language and nuances of their culture more than the male. Anything that is desired or despised is always placed on the female body.” Piecing together magazine imagery with painted surfaces and found materials, Mutu’s collages explore the split nature of cultural identity, referencing colonial history, fashion and contemporary African politics.
asylum-art:

Inspirational Art by Kenyan ArtistbWangechi Mutu
Wangechi Mutu is an African artist renowned for her haunting and dramatic female figures. An artist from Nairobi, Kenya, Mutu creates painted and collaged images of the female body offering a commentary on feminist and racial issues such as the history of women’s representation, cultural migration, global identity, colonial legacies, exoticism, and voyeuristic fascination.
Mutu’s work has been featured in museums and galleries all around the world exhibited in the San Francisco Museum of Modern Art, the Miami Art Museum, Tate Modern in London, the Studio Museum in Harlem in New York, Kunstpalast Dusseldorf in Germany, and the Centre Pompidou in Paris. She participated in the 2004 Gwangju Biennale in South Korea. Her work has been featured in several major exhibitions including Greater New York at the P.S.1 Contemporary Art Center and The Museum of Modern Art in New York, Black President at the New Museum of Contemporary Art in New York and the Barbican in London, and USA Today at The Royal Academy in London. As a unique visual artist Mutu’s work has important political and social implications.
Wangechi Mutu observes: “Females carry the marks, language and nuances of their culture more than the male. Anything that is desired or despised is always placed on the female body.” Piecing together magazine imagery with painted surfaces and found materials, Mutu’s collages explore the split nature of cultural identity, referencing colonial history, fashion and contemporary African politics.
asylum-art:

Inspirational Art by Kenyan ArtistbWangechi Mutu
Wangechi Mutu is an African artist renowned for her haunting and dramatic female figures. An artist from Nairobi, Kenya, Mutu creates painted and collaged images of the female body offering a commentary on feminist and racial issues such as the history of women’s representation, cultural migration, global identity, colonial legacies, exoticism, and voyeuristic fascination.
Mutu’s work has been featured in museums and galleries all around the world exhibited in the San Francisco Museum of Modern Art, the Miami Art Museum, Tate Modern in London, the Studio Museum in Harlem in New York, Kunstpalast Dusseldorf in Germany, and the Centre Pompidou in Paris. She participated in the 2004 Gwangju Biennale in South Korea. Her work has been featured in several major exhibitions including Greater New York at the P.S.1 Contemporary Art Center and The Museum of Modern Art in New York, Black President at the New Museum of Contemporary Art in New York and the Barbican in London, and USA Today at The Royal Academy in London. As a unique visual artist Mutu’s work has important political and social implications.
Wangechi Mutu observes: “Females carry the marks, language and nuances of their culture more than the male. Anything that is desired or despised is always placed on the female body.” Piecing together magazine imagery with painted surfaces and found materials, Mutu’s collages explore the split nature of cultural identity, referencing colonial history, fashion and contemporary African politics.
asylum-art:

Inspirational Art by Kenyan ArtistbWangechi Mutu
Wangechi Mutu is an African artist renowned for her haunting and dramatic female figures. An artist from Nairobi, Kenya, Mutu creates painted and collaged images of the female body offering a commentary on feminist and racial issues such as the history of women’s representation, cultural migration, global identity, colonial legacies, exoticism, and voyeuristic fascination.
Mutu’s work has been featured in museums and galleries all around the world exhibited in the San Francisco Museum of Modern Art, the Miami Art Museum, Tate Modern in London, the Studio Museum in Harlem in New York, Kunstpalast Dusseldorf in Germany, and the Centre Pompidou in Paris. She participated in the 2004 Gwangju Biennale in South Korea. Her work has been featured in several major exhibitions including Greater New York at the P.S.1 Contemporary Art Center and The Museum of Modern Art in New York, Black President at the New Museum of Contemporary Art in New York and the Barbican in London, and USA Today at The Royal Academy in London. As a unique visual artist Mutu’s work has important political and social implications.
Wangechi Mutu observes: “Females carry the marks, language and nuances of their culture more than the male. Anything that is desired or despised is always placed on the female body.” Piecing together magazine imagery with painted surfaces and found materials, Mutu’s collages explore the split nature of cultural identity, referencing colonial history, fashion and contemporary African politics.
asylum-art:

Inspirational Art by Kenyan ArtistbWangechi Mutu
Wangechi Mutu is an African artist renowned for her haunting and dramatic female figures. An artist from Nairobi, Kenya, Mutu creates painted and collaged images of the female body offering a commentary on feminist and racial issues such as the history of women’s representation, cultural migration, global identity, colonial legacies, exoticism, and voyeuristic fascination.
Mutu’s work has been featured in museums and galleries all around the world exhibited in the San Francisco Museum of Modern Art, the Miami Art Museum, Tate Modern in London, the Studio Museum in Harlem in New York, Kunstpalast Dusseldorf in Germany, and the Centre Pompidou in Paris. She participated in the 2004 Gwangju Biennale in South Korea. Her work has been featured in several major exhibitions including Greater New York at the P.S.1 Contemporary Art Center and The Museum of Modern Art in New York, Black President at the New Museum of Contemporary Art in New York and the Barbican in London, and USA Today at The Royal Academy in London. As a unique visual artist Mutu’s work has important political and social implications.
Wangechi Mutu observes: “Females carry the marks, language and nuances of their culture more than the male. Anything that is desired or despised is always placed on the female body.” Piecing together magazine imagery with painted surfaces and found materials, Mutu’s collages explore the split nature of cultural identity, referencing colonial history, fashion and contemporary African politics.

asylum-art:

Inspirational Art by Kenyan ArtistbWangechi Mutu

Wangechi Mutu is an African artist renowned for her haunting and dramatic female figures. An artist from Nairobi, Kenya, Mutu creates painted and collaged images of the female body offering a commentary on feminist and racial issues such as the history of women’s representation, cultural migration, global identity, colonial legacies, exoticism, and voyeuristic fascination.

Mutu’s work has been featured in museums and galleries all around the world exhibited in the San Francisco Museum of Modern Art, the Miami Art Museum, Tate Modern in London, the Studio Museum in Harlem in New York, Kunstpalast Dusseldorf in Germany, and the Centre Pompidou in Paris. She participated in the 2004 Gwangju Biennale in South Korea. Her work has been featured in several major exhibitions including Greater New York at the P.S.1 Contemporary Art Center and The Museum of Modern Art in New York, Black President at the New Museum of Contemporary Art in New York and the Barbican in London, and USA Today at The Royal Academy in London. As a unique visual artist Mutu’s work has important political and social implications.

Wangechi Mutu observes: “Females carry the marks, language and nuances of their culture more than the male. Anything that is desired or despised is always placed on the female body.” Piecing together magazine imagery with painted surfaces and found materials, Mutu’s collages explore the split nature of cultural identity, referencing colonial history, fashion and contemporary African politics.

(via asylum-art)