Camilla Anne Jerome’s series ‘Anhedonia’ – “My perception is real. Across these layers of grief and guilt, I search for more than just answers to endless questions. Pain radiates throughout my every fiber yet, you cannot see it. I am dismissed by each doctor as pleasure is overshadowed by my condition. Through the evolution of acceptance, I reclaim my body only to be left with Anhedonia*.”
Inspired by fairy tales and dreams Petr Lovigin sends in his series ‘My Louis‘ the icon of American jazz, Louis Armstrong, as a fictional character, to imaginary journey over mythological Russian landscape. Printed on background of books with Tibetan prayer symbols, the artist travels the young musician with a suitcase and the beloved trumpet in hands into a universe far away from the everyday life playing his most famous song to remind us after all ‘What a Wonderful World’ it is.
Matthew Brandt’s series ‘Silver’ – in his constant artistic search to establish a new way of unique interaction between the material reality and the visual one, he coated with a liquid silver his silver gelatin prints of forest landscapes, creating an extra layer with a mirror surface to reflect the perception and connects closer the observer with the image. The flowing traces it left veils the forest with a sense of enigma alluring to become part of it. What is behind these silky watercolours – a mystical magic place, decaying nature or …?
Mona Kuhn’s series ‘She Disappeared into Complete Silence’ – abstracting the present in a fusion of illusions where lines and shapes, light and shadows, delicate reflections and a single person blend into one along with the landscape of Californian desert.
The artist “turns in a highly austere and restrained reductionist geometry and distilled formal purity, connecting the interior to the exterior, the visible to the hidden. These reflections cause one to linger, as they merge to create a dynamic equilibrium of tension, space and rhythms.” (Salvador Nadales)
Michael Wolf’s series ‘Paris Tree Shadows’ – the artist’s passion for collecting repeated patterns in contemporary megapolis inspired him to point his lens to the simple beauty of daily life in urban cities, created by shadows of tree brunches and trunks over Parisian buildings. Composed in the rhythm of noir style there is also a sense of a drama like in a classic mystery combined with the tenderness of poetry and a quiet admiration of the power of surviving nature.
“And another way of looking at love is connection.” Alain de Botton
Janelle Lynch’s series ‘Another Way of Looking at Love’ – large-format (8×10) still lives in the landscape “as a metaphor to consider our yearning to be connected and the personal, societal, and environmental consequences of disconnection. I begin by identifying details in nature that, based on a unique vantage point, create geometric formations of closure. The connective point, or nucleus, that is created by the union becomes my plane of focus.”
Janelle Lynch – Another Way of Looking at Love
“The title is from a quote by the philosopher Alain de Botton, who supports Dr. Amy Banks’ neuroscientific research and Relational-Cultural Theory. Dr. Banks’ theory posits that humans are biologically hardwired to connect and that our wellness (and the well-being of our culture and planet) depends on our connections with others and with nature.”
The project took the artist three-year and is inspired by her recent immersion in drawing and painting from perception.
Masahiro Kodaira’s series ‘Other things‘ – “Shooting is an intuition. I am trying to take what I do not understand yet. I always think about the biggest mystery. What is the most obvious thing?”
Inspired by Rudolf Otto’s 1917 book ‘Das Heilige’ (‘The Idea of the Holy’), the series is the artist’s visual response to the writer’s notion of the ‘numinous’ – “feeling outside of the self.”
“When you shoot without talking to anyone or when you are in a room looking over a window, you may suddenly experience unexpected fear. What is this world? That strong sense against the outside world that eyes are exposed defenseless without knowing why he or she is present. The same is with ecstasy.”
Jürgen Nefzger’s series ‘Panta Rhei’ – melting Alpine glaciers as an awe-inspiring journey into the sublime beauty of nature and observation of its constant motion to change as a principal idea of the existence.
The term ‘Panta Rhei’ was used by Plato reciting the famous phrase of Heraclitus in which he summarized his philosophical concept that “everything is in flux and nothing stands still“ and “you can not step in the same river twice, because it is not the same river and you are not the same man.”
Liz Nielsen’s series ‘Force Fields’ – abstract photograms “like a musical performance whereby, mixing colors and harmonies, the artist creates new gradients. Working with pure color and the edges of each color within the spectrum, Nielsen adds and subtracts wavelengths, playing with diffusion and refraction. Her negatives resemble at sculptures with moveable parts into which she pours light”.
Ea Vasko‘s series ‘Defining Darkness’ – “Not being able to see could be interpreted as a symbol of not knowing, of not being in control. In Defining Darkness I photographed four different themes of trying to control a dark cityspace. These four themes are about four different types of darkness, from the chaos of artificial light in a big city to the dimness of a private bedroom.”
Ea Vasko – Defining Darkness
“People become insecure in the darkness, because of all our senses, we trust 80-percently in our vision. So what happens when the capacity of the most powerful of our senses is disturbed? Restriction of the vision increases the intensity of looking and through this the intensity of concentration and imagination… After dark we are dependent of the artificial light. The artificial light creates guides for us to navigate, and through that, security. By night a city is full of systems depending on lights, the traffic lights for instance. What we see after the dark is based only on artificial light and the shape created by it. The shapes look different than in the daylight: We cannot see the details, we can just make conclusions of what there is there.”