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New artwork (censored).

#grotesque #bnwart #bnwphoto #darkart #horrorart

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Artwork from A Carnal Dissection.

An experimental installation in which the sculptural head from the image is suspended above the work, casting doubled shadows across the wall and extending the piece through spatial repetition, projection, and material encounter.

Installed in the Gossard Building, Melbourne, Australia—a site built in 1907 and formerly used for undergarment manufacturing.

#geelongartist #darkart #bodyart #contemparyart #geelongcreatives

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How I make these artworks: Works are built through a repeatable studio process of staged photographic production, pseudo-surgical digital manipulation, and material reconstitution: 
+ Models are directed in a controlled studio environment. Bodies are choreographed through exaggerated, strained, and unfamiliar poses within constructed sets designed for later compositing. Lighting is used to generate harsh shadow structures that become integral to the later reconstruction. 
+ Digital dissection: Photographed bodies are fragmented, anatomised, and reconfigured through “digital sculpture”. This is not correction; it is the central procedure—suturing multiple angles, poses, and textures into unstable composite forms. 
+ Material reconstitution: Composite images are output as singular prints (often on stretched canvas) and transformed through surface intervention—paint, gels, abrasion, cutting, scratching—returning the image to a tactile field where damage, layering, and tension become part of the work’s meaning.

+ A Carnal Dissection is an interdisciplinary body of work spanning photography, installation, and literary fiction. It approaches grotesque embodiment as a phenomenological investigation into taboo desire, anatomical dismemberment, and the antagonism of spectatorship. The series examines how these dynamics are materialised through staged encounters between image, body, space, and viewer.

#bodyhorror #darkart #bodyart #contemparyart #horrorart

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No one spoke about stepping out of themselves, or into themselves, and into a corridor that ran behind the day like service access behind a theatre stage. No one spoke about walking through their own ribs as though moving through a building. No one described an interior architecture with thresholds, turns, locks, dead ends. No one admitted to the dual citizenship of consciousness: how the body could remain in conversation while the self retreated down hallways of bone and memory. How awareness could split like light through a prism, one beam continuing forward in time while another bent inward, exploring chambers where breath became echo and thought became form. How a private cartography of selves, unmapped on any medical diagram, where the mind’s eye could wander freely while the physical eyes maintained their social gaze.

I would wait for the explanation, the sentence—for revelation. I would lean into conversations the way you lean toward a door you think you heard open.

Nothing.

The silence wasn’t innocent. It wasn’t ignorance. It was an agreement I hadn’t been invited to sign.

The conclusion was simple and grotesque: either everyone was lying, or it was only me.

I chose only me. Because “only me” was easier to carry than “everyone.”

Outwardly, I remained intact. More than intact—effective. I learned how to arrange and rearrange myself to suit the moment I was in. My voice adjusted. My posture softened or sharpened as required. I mirrored desires back to their owners with enough accuracy that they mistook it for liberality. Charisma is simply a refined form of attentiveness, and attentiveness can be learned without affection. It can be learned like a trick. Like a con. Like lyrics to a song you don’t like but sing perfectly.

—excerpt from The Organ by Daniel Longo

#literaryfiction #geelongartist #geelongcreatives #phenomenology

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In an act of forgetting people’s faces, I’ve returned to old photographic catalogues—archives of proximity, evidence of who once existed beside me. Memory is not a clean record: some figures persist only as fragments, others remain visually precise while their voice has disappeared. I began treating the archive not as storage, but as a procedural site—something that can be edited, overwritten, and reconstituted.

For certain people, I deleted every image but one. Then I enacted a second removal: using digital scalpels, I cut the face out entirely and saved the altered file over the final photograph. Not as a “version,” but as an overwrite—an intervention that collapses document into procedure.

This process sits within my current research and ongoing series, A Carnal Dissection, which approaches grotesque embodiment as a phenomenological inquiry into taboo human desire, anatomical dismemberment, and the antagonism of spectatorship. Grotesque embodiment functions here not as theme, but as method: testing embodied perception, ethical instability, and spectatorial complicity through staged encounters between image, body, space, and viewer.

This is not a private ritual separate from my practice; it is practice-led method. I work through staged photographic production, pseudo-surgical digital manipulation, and material reconstitution, where dissection is not “post-production” but the investigative core. Cutting becomes a way of thinking—an analytic action that denies identity to see what kind of body an image can become.

Once the face is removed, the work shifts into surface intervention and rematerialisation, until the photograph no longer functions as memory. Looking is no longer neutral. The viewer is implicated. With the face—normally the anchor for recognition, empathy, apathy, love, or pain—absent, what remains is an encounter structured by uncertainty, distance, and the compulsive desire to resolve what has been withheld.

This is my attempt to stage forgetting itself: to choreograph the conditions under which an image stops being a person and becomes a problem of spectatorship.

#geelongart #geelongcreatives #geelongartist #collageartwork

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Fabulous exhibition launch last night at Edge Galleries @edgegalleries in Maldon last night. Curiouser and Curiouser beautifully curated by @simondowphotographer and @bradhooperarchitect Such amazing and powerful work… get Curiouser 🦉

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Preciosas fotografías de las obras de #freshlegs2022
Muy contento de estar junto con grandes artistas, pronto estaré por allí viéndolo en directo 😍
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#art #galleri #berlin #artist #contemporaryart #figurativeart #artwork #deutschland #germany #spain #manzanares

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STAATENLOS is a Photography/ Digital art piece and poem by Daniel Longo @thedaniellongo.
Poem: Staatenlos; a man without country.
Conflicting countries used to live inside of me.
The countries were invaded and occupied,
ruled by unconsciously invited nomads.
Unwanted nomads whom I loathe yet love-
Relished yet abhorred.

Nevertheless, they now live inside of me.
Houses have been built and they plan to stay.

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I’ve injected poison into the streets.

This poem represents the death of the artist. Daniel was lifeless for a long time until he came to spright through persistence in reparation of his identity and gaining revelation.

He killed the artist, He killed what killed the artist. Death of the artist, death of the cause; Resurrection.
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Daniel Longo is a Melbourne based artist, currently studying his Bachelor’s Degree in Fine Art (RMIT).
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Staatenlos is for sale, please contact the artist for more details
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Curated by @eacexhibitions, this work is part of the 3D Virtual Exhibition 'Death in a Box', available to explore on the link in Bio or at eacexhibitions.com/events-exhibitions/ from the 31st of October to the 31st of December 2020.
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'Death in a Box' aim is to provide viewers with insight into how art can destigmatize and unite people under the idea of death. Although it may feel uncomfortable, or something we want to distance ourselves from it, we believe in the art to bring positivity and light to this tough topic.
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#featuringartists #eacexhibitions #artonline #deathpositive #deathinabox2020 #supportartists #artcuration #creativepractice #curatorialpractice #digitalcuration #onlinecuratorialproject #onlineexhibition #diverseart #inclusiveart #artoftheday #featuring_art #artfeature #artistsoninstagram #virtual3dexhibition #emergingartists #artandcommunity #artforsocialchange #awareness #diversityinthearts #inclusivityinthearts #exploringnarratives #supportthearts #supportvisibility
#buysomeart

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LONGO STUDIO
Creative Services + Art Store
Geelong & Melbourne based. Human-crafted. No AI.
Unveil the unseen.
↳ longostudio.co

#LONGOSTUDIO #AustralianArt #GeelongArt #VisualCulture #CreativeGeelong

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Last day for FLESH + FREQUENCY today - open now until 4pm. Link in bio for catalogues

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LONGO STUDIO
Creative Services + Art Store
Geelong & Melbourne based. Human-crafted. No AI.
Unveil the unseen.
↳ longostudio.co

#LONGOSTUDIO #AustralianArt #GeelongArt #VisualCulture #CreativeGeelong

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Flesh + Frequency @ Untether Gallery 🥰
@untethergallery
@creativegeelong
@the.longo
@a_nitazz

#artists #artistsoninstagram #geelongartist #art #exhibition #exhibitionopening #artoftheday #portrait #artistssupportingartists

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