If Daniel Gordon’s current work in the Saatchi Gallery’s exhibition, Out of Focus is anything to go by, we’re supposed to consider these works as photographs and for all intents and purposes they are. But the incredibly involved montage of images within the frame, the unrecognisable surfaces – sometimes with a glitchy trace of their online origins that clashes wonderfully with the sharp relief of a real object – coupled with the use of lighting and props and composition, means they’re more like sculpture, or at the least, 3D collage.
Though predominantly portrait, it’s his occasional still life or flower arrangements that takes the meta-biscuit. They’re less ambiguous and aesthetically more graphic than the head shots; their assemblages show the uncanny flatness of their parts as they are crafted to resemble something a little more literal (but still totally wild) and vibrantly beautiful.
- Thomas Prior captures a Mexican festival involving exploding sledgehammers
- The misty-eyed and delicate pencil marks of Lee Kyutae
- Build’s brand identity for product design brand Plæy mirrors its playful and modular designs
- David Bailey's photographs of NW1, republished and exhibited for the first time
- Studio Mut creates a catalogue for Italian art prize that celebrates up-and-coming artists
- A forward-minded retrospective: behind the design of the massive Cedric Price monograph
- Wes Anderson directs H&M Christmas advert starring Adrien Brody
- The New Look: Looking back at Roundel’s 1980s identity design for British Rail’s Railfreight
- Discussing cinema with Laura Marling on her directorial debut, Soothing
- London’s first crisp restaurant, Hipchips, launches with branding by Ragged Edge
- Richard Sandler’s street photography conveys the intricacies of city life
- A "stress opus" from cartoonist Nadine Redlich