U.S. President Donald Trump holds news conference on the coronavirus outbreak at the White House in Washington, U.S., February 26, 2020. (Photo by Carlos Barria/Reuters)

A Pakistan fan poses for a photo during the Group Stage match of the ICC Cricket World Cup 2019 between Australia and Pakistan at The County Ground on June 12, 2019 in Taunton, England. (Photo by Alex Davidson/Getty Images)

General view of the Jacquemus Menswear Spring Summer 2020 show on June 24, 2019 in Valensole, France. (Photo by WWD/Rex Features/Shutterstock)

Argentinian twin dancers Nicolas Filipeli and German Filipeli perform during the Tango Stage final competition at the Tango Dance World Championship in Buenos Aires on August 21, 2019. (Photo by Ronaldo Schemidt/AFP Photo)

Vadim Voitekhovitch was born in a small town of Mozyr, Belarus. He spent most of his life Belarus and he graduated from Bobruisk Art College. From 2004 he lives and works in Germany. His style is quite diverse, but he dedicates most of his time to watercolor and oil. Voitekhovitch likes to draw pictures on history subjects and especially subjects coming from XVIII-XIX centuries.

American sculptor Michael Alfano has been sculpting for over fifteen years. A native of New York, he now lives and works in Hopkinton, Massachusetts. His major influences are Salvador Dali, Jo Davidson, and Jean-Antoine Houdon, as well as Buddhist, Taoist, Sufi and other eastern philosophy and literature. He first studied at the Art Students League of New York, with an emphasis on life-size sculpture from the model. His formal education continued at Boston University and was augmented by internships with several prominent sculptors.

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

These are the stomach-churning pictures of the swing at the end of the world – a rickety wooden swing hanging over a precipice 2,660 metres above sea level – and not a seatbelt in sight. (Photo by Caters News)