Transience
Digital Photography, Landscape, Sacred / Mythological, Fantasy / Visionary, Mixed technique, 61x50x5cm
UNBOUND ©
Fluttering leaves that discover the serpents uncoiled
rain on a mother’s bleeding breast
and awaken the Dead Eyes, drunk from stricken desire
but consumed by the atom split when panic feigned pleasure.
May Dragons enflame, and blossoms vomit ash
when fledglings encircle fences that unbind.
May the Woods entomb the glittering moonlit tanzanite
in a womb of intoxicated flesh.
And when hidden routes flood the borders
and Mortar holds only petals,
May soiled bones be forgiven
and the Soul be unbound.
© Tanisha Bhana
Destruction naturally breeds creation and, in creating, we often destroy. My work employs a fascination in deliberately destroying digital images in order to create aged, dreamlike visions of futuristic landscapes, to place the viewer in the position of looking back at our future.
Misplaced objects, juxtaposed to illustrate impossible landscapes, re-scaled or saturated in colour, bring together layers of scenes that are separately possible at different points in time of the earth’s history. Objects and imagery, both natural and man-made, are sometimes deliberately broken down or abstractly placed, but chaotically organised, in order to create patterns that allude to the transitory nature our existence and that of our planet.
Fluttering leaves that discover the serpents uncoiled
rain on a mother’s bleeding breast
and awaken the Dead Eyes, drunk from stricken desire
but consumed by the atom split when panic feigned pleasure.
May Dragons enflame, and blossoms vomit ash
when fledglings encircle fences that unbind.
May the Woods entomb the glittering moonlit tanzanite
in a womb of intoxicated flesh.
And when hidden routes flood the borders
and Mortar holds only petals,
May soiled bones be forgiven
and the Soul be unbound.
© Tanisha Bhana
Destruction naturally breeds creation and, in creating, we often destroy. My work employs a fascination in deliberately destroying digital images in order to create aged, dreamlike visions of futuristic landscapes, to place the viewer in the position of looking back at our future.
Misplaced objects, juxtaposed to illustrate impossible landscapes, re-scaled or saturated in colour, bring together layers of scenes that are separately possible at different points in time of the earth’s history. Objects and imagery, both natural and man-made, are sometimes deliberately broken down or abstractly placed, but chaotically organised, in order to create patterns that allude to the transitory nature our existence and that of our planet.
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