DISCLAIMER: I do not own anything I post here unless stated otherwise.
If you happen to find your photo posted here without the correct credit, please do not hesitate to leave me a message
Did you know that in Japan there are 3 ways to say “I love you”? You say “Daisuki” for friends and guys you like, you say “Aishiteru” for a more serious relationship and you say “Koishiteru” to the person you want to spend the rest of your life with. And they follow this rule. That is one of the things I admire about them. They didn’t make “I love you” lose its meaning like us.
I imagine that right now, you’re feeling a bit like Alice. Hmm?
Pretty sure if I were on LSD I would be instantly sucked into this. & by sucked in I literally mean sucked in to never return.
David Maisel - The Lake Project, 2001-2002
"The ground is bleeding. A red river cuts a path through a bleached valley, winding toward a lake that is no longer there. Seen from the air, the river and its dry terminus appear otherworldly. In actuality, this terrain is located in Owens Valley, an arid stretch of land in southeastern California, between the Sierra Mountains and the White-Inyo Range. The history of this region is the stuff of California legend: a story of engineers, politicians, and big land owners working together to divert water to the rapidly growing desert city of Los Angeles, generating a thriving agricultural industry and an environmental disaster in the process." [Diana Gaston]
DollarStore by Benoit Paillé & Daniel Delisle
"In the final phase of the project, I try to answer the call for help issued by a Chinese worker in Shenyang, which a consumer from Oregon found in the packaging of their Halloween decorations. I intend to infiltrate myself in the mass consumption circuit by printing my photos into postcards that I will distribute in one dollar stores, unbeknownst to the customers who will find them, in turn, in their purchases. By acting through the media of the image, I hope to provoke a questioning of the value of the objects when placed in relation to their conditions of production, and thus link the image to its concrete reality. In a kind of anti-show, at once beautiful and grating, these images are subverted and try to become a riposte at the "heart of the unreality of the real society," these photographs that are overly kitsch, like the show itself, "the sun that never sets over the empire of modern passivity” (Debord, 1967)."