Chad CoombsRead more...

Chad Coombs

*1982 in Saskatoon, Canada

Chad Coombs was born in 1982 in Saskatoon, Canada. His early theoretical and especially practical occupation with paintings was affected by former attempts to reeducate his left-handedness and not entirely corrected defective vision. The camera gave the young man the possibility to accept his disability and to transform it positively. Due to the medium photography he could overcome the restrictions, which he experienced in painting. Like Richard Avedon, Chad Coombs wants to disturb and arouse the viewer, to make him feel and think. In many cases he focuses on issues and problems of the globalized world. Sometimes very subtle like in the series Future Wildlife Portrait, sometimes very radical like in the series Photoganda. Chad Coombs works were published by national and international magazines. In 2008 Chad Coombs followed an invitation of the David LaChapelle Studios to New York and worked two weeks with the team of his favourite photographer.

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    • Ohne Titel
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    Polaroid

    In his current series of Polaroids, the Canadian photographer Chad Coombs (born in 1982) creates photo collages, which combine the analog instant photography with the opportunities of digital image processing. Coombs’ women’s heads, which he finds in the internet, serve here as a basis. After the digital revision, the pictures are photographed with a Polaroid camera. Subsequently, the artist works on these analog photographs with pen and paint-brush. The overpaintings and the scribings appear as white ornaments on the Polaroids’ mostly black backgrounds – and resemble therefore the international art nouveau around 1900. Furthermore, Coombs’ techniques of processing refer to another stylistic development at the turn of the century, as his manipulations seize the approach of the then art photographers, who revised negatives and positives with both mechanic and chemical procedures, with the major intention to approximate graphical and pictorial pictures. However, Coombs’ scribings and overpaintings do not lead to an overall pictorial aesthetics, which in general is perceived as beautiful. Instead, his technique emphasizes particular neuralgic parts of the face, mostly mouth and eyes, which he stresses in a lascivious and erotic way. The manipulations alienate the faces and, in parts, skew them up to unrecognizability. Occasionally Coombs overwrites the Polaroids with rephrased lyrics: In his works the familiar song “Sweet dreams are made of these” is continued by the pithy line “all yours are full of disease, lies and untruth”. The alienations’ surreal handwriting complete and underline the statement of the twisted visual motif. Within a spectrum which encompasses everything from exaggerated spotlessness to defacing deformation, the artist Chad Coombs contrasts the illusion of accomplished beauty with the grotesque grimace. Ultimately, he resolves this contrast in distracting dreamlike aesthetics. 

     

    Published about Chad

    FOTOHITS April 2011

    MONOPOL March 2011

    Kulturvollzug March 2011

    Cover Junge Kunst March 2011

    • Man's Tools
    • Smoke a lution
    • Pigmart
    • Gorilla Airfare
    • McWorld
    • Water for sale
    • Brother Bear watching
    • Rammed full
    • Bag Run
    • Oil Way Drive
     

    Future Wildlife

    A series of animal portraits done with the mindset of possible future national geographic images. A conceptual series of a possible future way of life if the world continues on its paths its headed in. One could argue two aspects on this series. One being human kind becomes extinct one day do to its own demise in any number of ways and wildlife roaming the earth again like it did before man kind ever set foot upon earths soil. Taking over the streets, markets, commercial areas and so on so forth. Living amongst the once inhabited areas mankind walk amongst. Two the constant sprawl of society over taking all areas of wild life claim, forcing man and beast to live amongst each other and learn to evolve as one. Adjusting in all aspects from feed to living quarters. Walking amongst each other as we do dogs and cats in most countries around the world. Days where a wildlife photographer wouldn't have to leave his/her own area of town to capture images of any animals living within their own countries regional wildlife. Visually inspired in part from the Banksy series of "re modernizing" paintings with current landscape objects inserted into classic imagery, such as a shopping carts and a pylon in a creek under a bridge or bio hazarded barrels behind some dancers.

    • Boxed Goods
    • Starving Carnival
    • Warpet
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    • Girls-Women
    • Hunged Street
    • KKK Street
    • War Crimes
    • Behead Street
     

    Photoganda

    Inspired by the quote from the movie "seven" Only in a world this shitty could you see a deadly sin on every street corner, in every home and tolerate it..." "We tolerate it because it's common, it's trivial. We tolerate it morning, noon and night. Well, not anymore...."

    In a world where the internet, television and daily new movies have desensitized our society. Where every day has a visual catastrophe of humanity for all the world to see and treats it as if its the treat of the week from McDonalds. We walk past these visual encounters as easily as we walk past some one eating a big mac sitting on a local stoop, we communicate it no more then the same way we would the extra value meal we had for lunch that very day. The urban legends and serial killers of yesterdays past have become nothing in todays culture. From bum fights to girls gone wild to the hanging of Sadam Husein or the beating of an innocent civilian by a local police officer. We walk right on past as if nothing is happening or happened. Our deadly sins have become nothing more then the equivalent of a McDonalds McValue menu, everyones seen it and everyones had something from the menu no matter how bad we may know it is for us. If the included images from histories past were to happen now in present society, how different would they look and how wide spread would their coverage be? Would anyone notice? Would anyone care? Would they look any different then the samples I have provide? I tend to believe so.

     

    Chad Coombs 2011

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    Peeled | 99 Edition

    "Most people dont realize a few things about these polaroids. One that they are infact nothing more then just that, a polaroid. Two it is ALL done by hand, every little aspect of it. Three I am the only on in the world who does this with time zero film apparently. ..." More on this here.