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Michal Macku was born in1963 in Bruntal, Czechoslovakia. Macku began working with photography at the age of 15. He has a qualification from the Technological Faculty of the Polytechnic Institute in Brno in 1985 and the Institute of Art Photography at Prague in 1989.  He has worked as a self-employed artist since 1992.
Macku created his own photographic technique in 1989, which he has named "Gellage". He continues to use and develop this technique in his still-photo art work, and, with the collaboration of Czech Television, has made an animated Gellage film.

The technique consists of transferring the photograph onto a based paper. This transparent and plastic gelatine material makes it realizable to reshape and reform the original image. By using this technique, the artist was able to change the connection of the pictures and produce a new meaning during the reallocation. The final work gives a neat image in which we can barely notice the editing.
The Gellage, often includes using more than one negative per image, makes it impossible to produce absolutely identical prints.
The artist does make at least 12 signed and numbered prints of each  image.                                                                                                                                                                                                                       Michal Macku  used the nude human body (mostly his own) in his pictures.
Through the photographic process this real human body is more or less into abstract and is into distortions.
Michal is always attempting to find new meanings of expression and, step by step, his discovering almost unlimited possibilities through his work by disconnecting gelatine. For the artist, photographic pictures mean specific editing by keeping the reality. The artist "body pictures" gives new situations, new contexts, new realities, which creates the actual reality to be comparable. Michal interest is questions of moral and inner freedom.  According to Michal, photography creates a way to communicate what cannot be expressed in any other way.

In most images, notice Macku realised a medium shot from waist and upwards. Others instead are close-up shots or large shots (we can see the whole body). the artist mainly capture facial or profiles pictures.  A few have been taken from the back. The photographs aren't presented in a normal way as Michal added special effects to the model as tiger nails, or if he was ripping his face. Michal realised monochrome images, by using bright tones.

I presume by the plain background that most of the portraits has been taken in a studio. In conclusion, the lights are controlled and is hard lights. Thanks to this technique it reinforces the shadows and the features of the body. The artist might have added some contrast in some of his images.

Most of Michal Macku shows depression like in Gellage nr.5, as the model is ripping is face. The spectator could think that the reason why the model is doing so, is because he had enough of his identity. The images also creates sadness.

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Gellage nr. 6, 1989                                        Paci contemporary

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Gellage nr. 6, 1989                                        Paci contemporary

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Gellage nr. 5, 2004                    Paci contemporary

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Gellage nr. 5, 2004                    Paci contemporary

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Khan has a qualification from the University of Derby in 2001, he studied for an MA at the Royal College of Art in 2004.
Khan's was either capturing pictures or scanning materials for then creating superimpositions.
For example he scanned every page of the Qur'an, every Beethoven sonata, every William Turner postcard from Tate Britain, or every Bernd and Hilla Becher spherical gasholder.
Khan's interest in Islam and layered imagery can be reproduced by his background culture and education when he was a child. Khan is a Muslim by origin. His father is from Pakistan. His mother changed to Islam after meeting his father. It was his father's idea that Khan will not practice Muslim. Idris work and process are the expressions of his memories that happened during his childhood and then incorporate all pictures produced in one final image. Khan define his photograph through an existing surface (picture he took or scanned paper) to then transform it in an isolated moment in time.

The images I selected pictures has been captured as an eye level, it's like we, the spectator, are observing the scene.  We don't see the subject in a ordinary way as they are overlayed several times on top of each, which, in my opinion, makes the photographs more original. In the pictures I chosen we can mainly notice architectural, geometrical shapes. There's a pattern of the subject. All the pictures are in monochrome. While looking at the images selected, we observe linear perspective.

As the photographer mainly represented landscapes he used natural lights. Although most of Idris Khan images are showed with soft lights, a few are still appear with a hard light.  This effects creates a atmospheric form of distorted reality.

For some images, the mood it creates are: confusions, lost and dizzy. St Paul's Cathedral gives an impression of a drawing. Instead for other photographs, you have the impression that you have took off your 3D glasses while looking at them.

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every...Bernd And Hilla Becher Prison type Gasholders, 2004

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every...Bernd And Hilla Becher Prison type Gasholders, 2004

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Photographic print
208 x 160 cm

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Silver bromide, on ragboard and aluminium

76.5 x 101.5 cm
30 1/8 x 40 in

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Silver bromide, mounted on museum board and Dibond

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Silver bromide, mounted on museum board and Dibond