Ink and water mix beautifully, and these photos prove it

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Graphic artist and photographer Alberto Seveso mixed metal ink with water for this luminescent creation. Photo  by Alberto Seveso
Graphic artist and photographer Alberto Seveso mixed metal ink with water for this luminescent creation. Photo: Alberto Seveso

If you look at the work of photographer and graphic artist Alberto Seveso, you might inadvertently feel you’re in the throes of a Rorschach inkblot test.

You are staring at ink for sure and, mesmerized, you can’t help but process what the eyes and brain see. Looks like lava, melted plastic or the gas explosions from an evolving star in deep space. The heart will no doubt see beauty but the gut may roil and struggle.

Seveso, a highly sought-after editorial and commercial photographer, hopes he is stirring our insides when he captures the fleeting art of ink or paint being poured into water.

Vietnam War photos leave haunting impressions on artist’s unlikely canvas

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A new look at an old conflict

With images like Holding #2, Binh Danh uses leaves and documentary photographs to revisit the Vietnam War.

Gary McColloug, 20

Binh Danh's 2008 chlorophyll print on grass and resin shows 20-year-old Gary McColloug, whose photo appeared in 1969 Life magazine article, "Faces of the American Dead: One Week's Dead."

Memory of Tuol Sleng Prison, Child 6

A photo of a child from Pol Pot's secret prison, Tuol Sleng.

US soldier

From Binh Danh's chlorophyll print series Immortality, The Remnants of the Vietnam and American War.

Untitled (Combat 2)

From Binh Danh's chlorophyll print series Immortality, The Remnants of the Vietnam and American War.

US soldier

From the Immortality, The Remnants of the Vietnam and American War series.

Self-immolation of Thich Quang Duc

From Binh Danh's chlorophyll print series Immortality, The Remnants of the Vietnam and American War.

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A camouflaged leaf

From Binh Danh's Military Foliage series.

In memory of our troops: 6371 December 25, 2011.

An original "camera exposed" daguerreotype.

The coiled hose left a mark on the grass, a fading of color where the sun could not shine.

From this moment on his front lawn, Binh Danh realized he could create a photographic process using sunlight, leaves and grass. He had no idea his method would develop into an organic process of self-discovery.

On leaves from his family’s garden, Danh brings fresh examination to an old war, printing haunted faces and horrific scenes from the Vietnam conflict with light and chlorophyll.