Art&Culture
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AS ABOVE, SO BELOW

Tony Maher’s photo series Mermaids dunks its viewer underwater, forcing them to see things in a different light.

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AS ABOVE, SO BELOW

A mermaid might not be the first thing you’d liken to a swimming labrador. Barrelling into the blue after a tennis ball, splashing about with gleeful flailing limbs, you could say a labrador has about as much grace as a mermaid has legs. However, somehow the two black labs captured by photographer Tony Maher in his Mermaids series project a sense of mystery, wonder, even dread. The kind of mystery that seduced sailors and caused them to dive into the ocean in the pursuit of a beautiful maiden, only to be swallowed up by the waves.

This is especially heightened in Maher’s work thanks to the vantage point of most of the photographs. He’s taken them from the bottom of a swimming pool, looking up at the distorted world beyond the surface of the water, forcing the viewer to work harder to make out shapes, figures, or establish a connection. Maher suggests that the photographs in this series “float in a sort of limbo between real and unreal,”—not unlike the way a mermaid straddles the line between human and mythical creature.


tonymaher.net
You can see the complete Mermaids series here.

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ISSUE EIGHT — PRE-ORDER NOW

In this issue we challenge stereotypes, big and small. Klaus Dyba’s portraits of hairless dogs embrace the bald and the beautiful, Winnie Au’s fashion-inspired photos take the shame out of the cone, and the stellar lineup in Really Good Dog Photography stir us well away from the obvious fluff. We marvel at artists who can breath life into hounds on paper, screen and space. We travel to the heart of Australia, where dogs can easily become a hungry croc’s lunch. We fall in love with the ultimate four-legged bad-asses (we are looking at you, Brian Griffin) and we hang with farm dogs and their hip humans in the rolling hills of the Hudson Valley. All this, and more, inside the covers.

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