From a height of three metters, porcelain figurines are dropped on the ground, and the sound they make when they hit trips the shooter release. The result: rasor-sharp images of desturbing beauty-temporary sculptures made visible to the human eye by the high speed photography technology. The porcelain statuette bursting into pieces isn't what really captures the attention; the fascitanipo lies in the genesis of a dinamic figure that replaces the static pose. In sontrast to the inertness of the intact kitsch figurines Klimas started out with, the photographs of their destruction possess a poverfully narrative character.
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