iamuggan

Episode 2:

Edu Monteiro: Sensorial Self-Portraits

My sensorial self-portraits are personal fictions. The impulse emerged from a sensory mask made by a Brazilian plastic artist Lygia Clark. With this impulse came the desire to try to manipulate and to wear an object that forced a change of sensations and self-analysis.

So I started to create my own masks, not only inspired by the poetics used by Lygia, but also by different artists throughout the history of art who had marked my memory, such as Hélio Oiticica. Carrying forward their ideas, I have created self-transformations, rather than creating artwork requiring the participation of others, as Clark and Oiticica did. I offer my own body and mind to similar experiences as the ones Lygia worked in the “file memory” of her patients: their fears and weaknesses, through the senses.

David Pace

Karaba Brick Quarry

Karaba is a small African village in southwestern Burkina Faso. Outside the village, a short distance from the dusty main road, is a quarry where men carve bricks from solid stone using only picks and shovels. 

The rock is called laterite (from the Latin “later” meaning “brick”). The quarry has been in constant use for nearly 30 years. The bricks, loaded onto wagons and taken to nearby villages, are the basic building blocks for the homes, buildings and walls that structure the surrounding communities. 

I have been photographing in the Karaba quarry every year since 2008. I am captivated by the architectural quality of the space, the dazzling color and the incredible men who work there. The quarry is like a magical, ever-changing work of earth art.

Maybe somewhere else in the universe, there’s another version of you — someone completely different yet almost the same exists. Among all of us, alternative versions of the self could be lurking with a different past or future.

The idea of multiple selves is explored by photographer and artist Daisuke Takakura in his latest photo series entitled “Monodramatic”.

Ossian Brown - Haunted Air, 2010 (with an introduction by David Lynch and afterword by Geoff Cox)