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27 October, 2009

Lishui Photo - David Ellingsen






David is another fine artist making the trip to Lishui.

Here is more on his series, Future Imperfect.

The expectation of a perfect life as dictated by Western consumer culture has far-reaching implications, particularly as it relates to conservation and environmental responsibility. In the context of an affluent yet unsustainable culture resistant to any perceived deterioration of lifestyle, the series Future Imperfect asks when the tipping point for meaningful widespread social change will occur…and suggests one disturbing possibility.

With little or no trace of Man, the landscapes themselves seem to contain an unseen menace, weighing the human response instinct to a clear and present danger against signs of a more subtle nature. Formations of figures portray community - a crowd, a flock, a pod, a herd - beginning with a human perspective, but more importantly one more all-encompassing, putting mankind back into the natural order from which He has removed himself. The bodies themselves realize the dominant demographic of recent human history, raising ideas of civil justice and systems of power as they relate to social progress.

Bringing together these elements of Man and Environment, Future Imperfect examines the point where our seemingly blunted instinct of self-preservation will overcome the entrenched, destructive cultural norms inherent in the West.

27 October, 2009

Lishui Photo - David Ellingsen






David is another fine artist making the trip to Lishui.

Here is more on his series, Future Imperfect.

The expectation of a perfect life as dictated by Western consumer culture has far-reaching implications, particularly as it relates to conservation and environmental responsibility. In the context of an affluent yet unsustainable culture resistant to any perceived deterioration of lifestyle, the series Future Imperfect asks when the tipping point for meaningful widespread social change will occur…and suggests one disturbing possibility.

With little or no trace of Man, the landscapes themselves seem to contain an unseen menace, weighing the human response instinct to a clear and present danger against signs of a more subtle nature. Formations of figures portray community - a crowd, a flock, a pod, a herd - beginning with a human perspective, but more importantly one more all-encompassing, putting mankind back into the natural order from which He has removed himself. The bodies themselves realize the dominant demographic of recent human history, raising ideas of civil justice and systems of power as they relate to social progress.

Bringing together these elements of Man and Environment, Future Imperfect examines the point where our seemingly blunted instinct of self-preservation will overcome the entrenched, destructive cultural norms inherent in the West.