Black Swan Event is a photograph series about random events that could not have been predicted. Impact of these singular events transcends our ability to perceive them on the basis of our experience and compels us to look beyond knowledge. Moments captured in these photographs therefore suggest an alternate viewpoint from which the viewer is encouraged to sense her way through such phenomena. The series takes advantage of that moment of uncertainty triggered by a

desperate urge to grasp the unlikely. In the first of these photographs where states of displacement, abandonment and demise are often portrayed we are invited to witness the blackness of the swans painted in white. This presents a metaphor for the impossible desire to rationalize the improbable and shows us the way to a clearing whereby we embrace a new attitude towards the inexplicable events of life.

For over three years my work has focused on my cultural transition and its implications as I come to terms with my homosexuality. I drew attention to my childhood, my family and the environments that surround me. Eventually I turned my camera towards my now defunct relationship, which became pivotal in defining my present-day identity.

Now I turn my camera towards myself, as I fight to reconstruct a life without the very thing that I thought defined me. Sentiment emerges from

my longing to photograph feelings that are sui generis, manifested uniquely through my person. These images represent my struggle to surface from darkness, panic and hopelessness. Just as I once escaped my motherland to pursue a foreign one that welcomed me wholly, I now find myself escaping something foreign which has taken residence in my body and have turned the camera on it in hopes of a full exorcism.

Personal playgrounds. People enjoy their solitudes with a peaceful mind. A place with no human contradictions and worries about the weather. The comfort suits everybody carefully. The ideas come with pure joy. Happiness. Youth. Invisible common toys like the bright sun, blue

water or a fresh forest. Real toys for them to play with. Shapes, eyes, hands and relations between them. Working offline devices of feelings installed. Ready.

More images on Neta Dror’s website or on her Facebook page.

(This Is Not A) Love Song was featured in AField Magazine as a collaboration project with Oitzarisme. AFIELD is an online visual art magazine that features international artists, it is a bridge linking artists and audiences, a starting point of conversation and is aiming to discover and promote emerging artists of various subcultures. Each issue approaches a new topic and features a mix of local and international artists from different art domains: photography, illustration, painting and others. The topics will address a wide range of interest regarding art and the art world.
They are always looking for fresh art and they are open to any kind of proposals. They invite and encourage you to send them ideas and suggestions reserving their rights to publish only materials that match the theme and magazine standards.

You can browse AField Magazine here and like them on Facebook:

At the heart of my work is a fascination with ambiguities and inconsistencies, an interest in how I go about negotiating areas of grey and how others manage to do the same. When I am in public, I watch people going about their daily routines alone; I wonder about the lives they lead, wonder how they experience the world around them and how they make meaning of it. I spend time inventing stories for them: narratives of isolation, of questioning and searching, of desire, and of confusion. The images in Other People’s Clothes are a product of my exploration of private moments of expectation, a visual expression of my experiences stepping into the shoes of the types of people I see on a daily basis. Each photograph in the series is a constructed scene that begins

with an outfit or piece of clothing (either bought, found, or borrowed), then a person that I imagine to fill those clothes, and finally a location where that person can play out a silent moment alone. This moment is the time right before something changes, the holding in of a breath and waiting, the preparing of oneself for what is to come. Though I am the physical subject of these images, they are not traditional self-portraits. They are portraits of people I have never met but with whom I feel familiar, as well as documents of the process wherein I try on the transitional moments of others’ lives in order to better understand my own.

More images and other interesting projects on Caleb Cole’s website. Born in Indianapolis (1981), Caleb Cole is a former altar server, scout, and 4-H Grand Champion in Gift Wrapping. His mother instilled in him a love of garage sales and thrift stores, where he developed a fascination with the junk that people leave behind. Cole is a 2011 St. Botolph Club Foundation Emerging Artist Award winner, 2011 Massachusetts Cultural Council Fellowship Finalist, 2011 Somerville Arts Council Fellowship awardee, 2010 Magenta Foundation Flash Forward Winner, 2009 Artadia Award winner, and a 2009 Photolucida Critical Mass finalist. He has exhibited at a variety of venues, including Gallery Kayafas (Boston), the Danforth Museum of Art, Photo Center Northwest (Seattle), Good Citizen Gallery (St. Louis), Childs Gallery (Boston), and Jenkins Johnson Gallery (NYC). Cole was also featured in Boston Magazine (HOME) as an emerging photographer who is “shaking up New England’s visual arts scene.” He is represented locally by Gallery Kayafas.

Found on USA Projects.