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This spellbinding scrapbook is one artist's tribute to androgynous waifs and tomboy dreamers. A fashion photographer for clients like Dazed & Confused and Alexander McQueen, Toyin Ibidapo records her subjects over time in her own home. Each subject is a friend; model and artist collaborate in the creative process. The results are intimate and real. We watch these naive protagonists explore who they are--and who they might become. Although each picture is carefully composed, the mood is far from contrived. The results: delicate portraits that exude a sincerity often missing from images of the young and beautiful. Coltish and charming, these mesmerizing photographs capture the raw vulnerability of adolescence.
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Cult of Boys based on 0 ratings. 1 reviews.
CULT OF BOYS is an art book. Though the title may suggest to some that this is a book of nude young boys meant to titillate, nothing could be further form the truth. Toyin Ibidapo is a young British photographer and film maker who is London based and has gained acclaim for her work with celebrities: some of her 'models' include Ben Wishaw (Brideshead Revisited, The Hour TV series, Julie Taymor's The Tempest, Bright Star, I'm Not There, etc), Jamie Campbell Bower (Camelot for TV, Sweeney Todd, Harry Potter, Anonymous, etc), Dominic Cooper (Captain America, The History Boys, An Education, The Duchess, etc), Michael Pitt (Boardwalk Empire for TV, The Dreamers, Funny Games, The Heart is Deceitful above all Things, etc), and Tom Hughes (Silk, Cemetery Junction, Sex, Drugs, & Rock and Roll, etc) as well as capturing the work of Alexander McQueen's now infamous fashions. But this book is not limited to her penchant for capturing celebrities in non-traditional imagery. According to the artist, what appeals to her artistic sense is 'What lies beneath - not just a pretty face. Raw, honest to a point, and maybe a slight hint of voyeurism and untapped sexuality, it's all in the eyes.' For the past 10 years she has invited young boys into her home and has taken hundreds of images, all gentle, unposed, not desanitized, and treated these lads as her friends. The result is a book containing many photographs of very thin, long haired, rather unkempt lads - with an occasional similar looking female of the same age group here and there - many without shirts but otherwise dressed, in photos that are pasted or sewn together on some pages, morphed into lace surrounded hand colored artsy images on other pages, and some solo and others with groups - the final appearance is that of a scrapbook of friends that happens to include comments form the artists and from the models on certain pages. According to an interview with the artist, the following is pertinent information: 'Toyin's ability to capture raw emotion and the beauty of youth in her photos enable the viewer to read a story without words, almost as if you are reading the dairy entries of her subjects. She one day hopes to publish a book of her life's work entitled 'The Cult of Boys'. Toyin has enough material to make 10 books. Her bedroom where she always shoots, in the family home she grew up in, is filled with photos from the past 10 years and beyond, and the overflow is housed in crates in the garage. Toyin's work captures another aspect of the male form, a graceful softer image that plays with androgyny, redefining what male beauty is. Toyin has shot campaigns for McQ and Edwin, is a long-time contributor to Dazed & Confused and has also contributed to Show Studio, Dazed Japan, The Telegraph, Jalouse, Crash and 10.' And now with the publication of this impressive book we can readily see that her hope came to fruition! To appreciate this 'museum quality exhibition' of Toyin Ibidapo the reader needs to hold this large volume in the lap and simply page through slowly and then again and again. Her imagery is natural - and unnatural - traditional and avant-garde. The book is itself an art piece and deserves careful attention form all those interested in photography as art and statement as to the youth of today. The reader is treated to several homages at book's end and form that we learn a lot about this young British/Nigerian photographer who is headed toward a permanent place in the a