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Giuliano Bekor"LB10" (FRAMED) Original photography Limited Edition 2/4 by Giuliano Bekor2018
2018
About the Item
"LB10" (FRAMED) Original photography Limited Edition 2/4 by Giuliano Bekor
Print size 40x56 Inches
Artwork finished size 42x58 Inches
Limited edition 2 of 4
Artist proof 1
Medium:
This artwork printed on a highest resolution fine art museum quality Fujiflex Crystal archive silver halide paper. Printed with a high gloss finish. Mounted on half Inch thick non-reflective museum grade acrylic face-mount. finished with hand polished crystal clear edges for extra depth and dimension.
Back-mounted with 1/8 Inch thick polished aluminum. Comes with custom gallery style semi gloss white floater frame face finish + A heavy duty wooden float mount hanger in the back.
TRANSCENDENCE series
If the human body contains the human soul, it does so at a proximity so close as to be contiguous. Psychic well-being is a form of physical well-being, and vice versa. Similarly, physical sickness manifests psychically. But what if we could transform, even upend this direct relationship? What if we could turn pain and deformity into beauty and delight? The quest to do just that – to take the body’s wounds and failures and turn them, without perversity, into glorious apparition – drives the series of photographs Giuliano Bekor has titled “Transcendence.” Once the source of Bekor’s imagery is known, the rubric “Transcendence” makes ready sense. The elaborate patterns and painterly colors that dance, literally, before our eyes have been derived from clinical microphotographs of cancer cells. The source of those cells are women, and among the cancers represented are those that afflict women particularly (certain ones to nearly epidemic proportions). What we behold, then, is the immediate image of illness and death. And what Bekor has done is transform this image into one of wonder and allure. This is not black magic: this is artistic imagination applying the power of transformation to that which can destroy us. “Transcendence” indeed: poison has become elixir. Bekor, famed as a commercial photographer, habitually stares at women’s presences through his camera. Here, as it were, he stares into them, finding in them not the disorder that will destroy them but the energy that will rebuild them. By “painting” women’s bodies with luminous configurations based on disorders in women’s bodies, Bekor empowers women – indeed, all humans – to reclaim health, to quell cellular rebellion and remit to biochemical harmony. Turn your inner sabotage into art, Bekor demonstrates. Beauty is in the body of the beholder. It should be noted that the images comprising “Transcendence,” and several other of Bekor’s recent series of art photography, have been realized entirely from life. That is, not only are the images of cancer cells provided directly from hospitals, clinics, and other biomedical sources, but the figures on which these images have been cast have stood thus before Bekor’s lens and have been visually recorded as such. As he goes to great pains to point out, no digital manipulation is involved. Bekor literally projects the cellular imagery onto the still or moving bodies of models – dancers, really – and ultimately isolates the shots that capture the array of vibrant pattern he seeks. Multilayered as Bekor’s method is, it is thoroughly analog, a composing in studio – “in camera,” as it were – rather than in Photoshop. This gives the images a subtle depth and immediacy, the same kind of resonance others claim for analog production in other art forms (e.g. vinyl records, hand-printed books). But Bekor does not seek sensuous texture and vivid form merely for their own sake. His concern for the corporeal – especially when opened to the metaphorical complexities of a project like “Transcendence” – demands that he be as faithful as possible to the presence of the human, especially female, form. At a time when women are claiming and demanding control over their own bodies, anyone purporting to represent and exalt those bodies must honor their integrity and autonomy. Furthermore, Bekor tables a complex, even risky proposition: that something that sabotages the female body can be envisioned as part of its glory. Cancer is never lovely, but its current hold on our imagination can be loosened if we know that it is not necessarily stronger than us. Modern science is doing an increasingly remarkable job of taming cancer. Here, Giuliano Bekor proposes that we can tame cancer in our imagination as well, by turning it into art.
ABOUT THE ARTIST
Internationally recognized photographer, Giuliano Bekor, holds a portfolio that includes work from the realms of fashion, beauty, celebrity, advertising, and fine art.
Giuliano’s photography has been featured in top publications around the globe, and his client list includes an endless file of beauty industry leaders, advertising agencies, celebrities, producers, and artists.
With 30 years in the industry, Giuliano has perfected his craft to an exceptional level of expertise. Composed of light, color, space and form, Giuliano brings ideas conceptualized in his own imagination into reality throughout his work.
Currently living between New York and Los Angeles, Giuliano is often on the move traveling for work and inspiration. Always the restless visionary, he ceases to continually express his fresh and nuanced style.
For Giuliano Bekor, a photograph is an image that comes into being consciously, composed of light, color, space and form. Like a painter, he sketches, refining ideas through pen and pencil well before the shutter clicks. A camera is strictly a means to an end, a way of making a palpable visual record of an idea that gestates in his mind, gains shape by his hand, and resolves through his eye as it peers through the lens.
His subject is the human body, almost always nude. These images delve into the splendor of the body - how it can express the inner meaning of who we are. Limbs, torsos, muscles and bones are exposed as though carved out of a supple, glowing stone that flexes and twists. Many of these photographs feature subjects posed with the eyes obscured, the face covered.
If we look closely, Bekor says, we can see that the body is as much a window into the soul as the eyes. This is a gallery of the soul etched into the forms we assume in the physical world. Through exaggerated contrast between light and dark, smooth and textured, vaporous and tactile, Giuliano deliberately filters the extraneous.
The camera captures the image, but for Bekor each exposure is a transformation - of himself, his subjects, and us. He is digging into uneasy turf, fraught with tension: masculine/feminine, heroic/cowardly, shameless/shameful, eternal/fleeting. The intensity of detail, the fiercely exquisite perfection of the bodies themselves, the unflinching, scrupulous engagement of the lens, negates all pretense of politeness. Confronted, we are summoned to look. So we must. And we do. And we experience the beautiful human forms we inhabit and the silent, eloquent language they speak.
- Creator:
- Creation Year:2018
- Dimensions:Height: 56 in (142.24 cm)Width: 40 in (101.6 cm)Depth: 2 in (5.08 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:Culver City, CA
- Reference Number:1stDibs: LU108514342811
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