In Hollywood, more often than not, they’re making more kind of traditional films, stories that are understood by people. And the entire story is understood. And they become worried if even for one small moment something happens that is not understood by everyone. But what’s so fantastic is to get down into areas where things are abstract and where things are felt, or understood in an intuitive way that, you can’t, you know, put a microphone to somebody at the theatre and say ‘Did you understand that?’ but they come out with a strange, fantastic feeling and they can carry that, and it opens some little door or something that’s magical and that’s the power that film has. -David Lynch
the struggle between man’s conscious and his heart until things go too far, get out of hand, and can never be repaired
Memphis Group / The Memphis Style / Memphis Milano (1981-1987)
A postmodernist design and architecture group founded in Milan by Ettore Sottsass in 1981. Their work was bold, colorful, geometric, playful, absurd, bizarre, and even loathed by some. There are around 15 members including Michael Graves (Portland Building), Alessandro Mendini, Michele de Lucchi, Matteo Thun, and journalist Barbara Radice. (Also, Peter Shire is often associated with the group and his work is AMAZING!)
The Memphis style derives from Art Deco, Pop Art, 1950’s Kitsch, and bathed in a playful approach to making. It wasn’t taken seriously at the time (by some), but remains to be highly influential.
Danzig Baldaev begun collecting information and illustrations of Russian criminal tattoos while visiting his father in the contentious Kresty Prison in St. Petersburg, and over the next 30 years, he managed to compile encyclopedic volumes of these literal bodies of work.
These tattoos, notoriously donned by the members of vory v zakonye, read like stories to those who see them, not just of what they mean but also how they came into existence.
Working with Baldaev’s documentation and illustrations of these tattoos, photographer Sergei Vasiliev finally cemented his work in a collection of photographs. From 1989 to 1993, Vasiliev also travelled to Kresty Prison like Baldaev before him, and captured the living tattoos and “putting a face to the art”.