Swiss-Italian photographer Christian Tagliavini combines theater with the language of portrait photography to create curious and open narratives. For his series “Carte,” Tagliavini built wooden clothing and frames around his human subjects to devise life-sized playing cards. This technique creates tension between the two-dimensional quality of the playing cards and the life-like attributes of his distinctive characters, such as their protruding collarbones and rosy cheeks. Some of the eleven photographs further complicate the viewer’s sense of perspective with subtle gestures. In “La Matta Nera,” the stoic, smoky-eyed woman folds her black painted fingernails over the cutout frame, shaking the viewer’s belief in the image’s flatness. In this way, Tagliavini’s playing cards invite a sense of playful interaction. Their perspectival ambiguity and hints at mythological symbols serve as reminders to be more tactful and observant, especially when playing games of chance.
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For most of us growing up, playgrounds were more than a place for fun and games- they also provided a fast and hard lesson in how social structure works; they taught us how to be patience while we waited for our turn on the swing, while boys would chase and torment the new girl, and the nerdy kid would get bullied and left behind in sport games. In their surreal new series of photographs titled 
London-based artist 
Inspired in part by the Land Art movement of the late 1960s, 
Photographer Henrik Isaksson Garnell “sculpts” his imagery with natural elements such as bones and plant matter, manmade objects, digital effects, and electronic ephemera. The result includes his new series “In Treatment,” a meditation on psychotherapy. The work moves between the cerebral and the surreal.