Wild Photo Series Depicts Apocalyptic Girl Squads In Their Element

Be both scared and excited.

In his series "Future Fatigue," artist Bryn DC explores the war waged on women with women who can, frankly, kick your butt.

Through war paint, horned helmets and gas masks, Bryn creates a cinematic and dusty future full of violence with women at its center.

"I wanted to deconstruct the representation of strong women I kept seeing in the media, remove the sexualization and just have them be what they were, strong women," Bryn said in an email to The Huffington Post. 

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Bryn's vision, which he calls "a place of neon-grit and violent gangs," and the title of the series originally came out of his own struggle with chronic fatigue. He has been suffering from it one and off for the past four years.

"At its worst, I feel that it is never going to end and this fills me with dread toward my future; that I will never get to create what I need to, never get to create the things that make me tick," Bryn said.

"This series was a reaction to that, my way of proving that no matter how exhausted I am, I keep on keeping on. I think most of us feel a similar dread toward the future, our apocalyptic world-view, but we continue and hopefully that alone is enough to change where we are heading," he continued.

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More of Bryn's work can be found on Instagram and Facebook.

 

Also on HuffPost:

Super Natural Women Artists
(01 of10)
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(credit:Peggy Johnston, Reptalien, 2011; Vintage guard material, thread, paper, taxidermy fish eyes, and beads, 8 1/2 x 96 in. (open); National Museum of Women in the Arts, Gift of the Library Fellows of the National Museum of Women in the Arts)
(02 of10)
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(credit:Patricia Piccinini, The Stags, 2008; Fiberglass, automotive paint, leather, steel, plastic, and rubber, 69 3/4 x 72 x 40 1/4 in.; National Museum of Women in the Arts, Gift of Heather and Tony Podesta Collection, Washington, D.C.; Photograph by Graham Baring)
(03 of10)
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(credit:Monika E. de Vries Gohlke, âCaimanâ After Maria Sibylla Merian and Daughters, 2012; Etching and aquatint, hand colored, on paper, 11 1/4 x 15 1/4 in.; National Museum of Women in the Arts, Gift of the artist)
(04 of10)
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(credit:Janaina Tschäpe, Livia 2, 2003; Color print, 40 x 50 in.; On loan from the Tony Podesta Collection)
(05 of10)
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(credit:Maggie Foskett, Rain Forest, 1996; Cliché-verre, 20 x 15 3/4 in.; National Museum of Women in the Arts, Gift of the artist)
(06 of10)
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(credit:Kerry Miller, Pflanzenleben des Schwarzwaldes (Plant Life of the Black Forest), 2015; Mixed media and hand-cut assemblage, 15 x 14 1/2 x 4 in.; On loan from the artist)
(07 of10)
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(credit:Sharon Core, Single Rose, 1997; Color print, 14 x 13 in.; National Museum of Women in the Arts, Gift of Heather and Tony Podesta Collection, Washington, D.C.; © Sharon Core, Image courtesy of the artist and Yancey Richardson Gallery)
(08 of10)
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(credit:Amy Lamb, Purple Datura, 2015; Digital pigment print of photograph, 34 x 34 in.; Promised gift of the artist and Steven Scott Gallery, Baltimore; © 2015 Amy Lamb, all rights reserved)
(09 of10)
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(credit:Patricia Tobacco Forrester, Bronzed Roses, 1991; Watercolor on paper, 40 x 60 in.; National Museum of Women in the Arts, Promised gift of Steven Scott, Baltimore, in memory of the artist)
(10 of10)
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Nikon D800e (credit:Rachel Ruysch, Roses, Convolvulus, Poppies, and Other Flowers on a Stone Ledge, ca. late 1680s; Oil on canvas, 42 1/2 x 33 in.; National Museum of Women in the Arts, Gift of Wallace and Wilhelmina Holladay)

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