Tom Scholefield (a.k.a. Konx-om-Pax after a publication by Crowley) is a Glasgow-based artist who works in a number of different media. Much of his work is in a colourful quasi-futuristic style he calls hyperreal. A lot of his work is in collaboration with musicians, either to create cover art or music videos. He also DJs, and has made several mixes available.
The World According to Hoyle. Matt Hoyle is a commercial and fine art photographer based out of New York City. His portfolio includes Barnumville, a fictitious 1940s town of sideshow performers, and a series of cinematic shots from movies that were never made. Yes, he uses Photoshop, but I can't predict if you'll like or hate the final results. (He apparently has a long, happy relationship with saturation.) Yes, the site uses a Flash interface, but it's easy to switch from the default full display to thumbnails to full screen, and you can link to specific images. No, there are no pictures of his near-namesake mathowie anywhere in his portfolio. I checked. (via)
Writing has been around for a long time, but that doesn't mean we've mastered it yet. Want to make fiction? Perhaps it makes itself, perhaps it makes you... Self reference breeding infinite hyperrealities. Which world will you choose?
Drama is impossible today. I don't know of any. Drama used to be the belief in guilt, and in a higher order. This absolutely cruel didactic is impossible, unacceptable for us moderns. But melodrama has kept it. You are caged. In melodrama you have human, earthly prisons rather than godly creations. Every Greek tragedy ends with the chorus — "those are strange happenings. Those are the ways of the gods". And so it always is in melodrama. His career as a film director lasted more than 40 years, but Douglas Sirk (1900-1987) is remembered for the melodramas he made for Universal in Hollywood between 1954 and 1959, his "divine wallow": Magnificent Obsession (1954), All That Heaven Allows (1955), Written on the Wind (1956), The Tarnished Angels (1958, William Faulkner considered it the best screen adaptation of one of his novels), Imitation of Life (1959) -- all considered for decades little more than a camp oddity. Now audiences are beginning to look deeper at the films of Douglas Sirk, at how, in megafan Todd Haynes' words, they are "almost spookily accurate about the emotional truths". Now, lucky Chicagoans can enjoy "Douglas Sirk at Universal", matinees at the Music Box. More inside.