William Miller’s series ‘Ruined Polaroids’ – “an unintended exploration into the three-dimensional physical character of an antiquated photographic medium that touches on subjects from the artistic value of chance, to questions of what constitutes a photograph. I say unintended because what I’m focusing on here is a technological anomaly. The failure of a process.”
William Miller – Ruined Polaroids
These pictures are taken with a broken old Polaroid SX-70 camera bought for just $18 at a garage sale. When he started using, it “spills out two pictures at a time and the film often gets stuck in the gears, exposing and mangling the images in unpredictable ways.” They were an abstract mess that could hardly be called photographs. At first, he tried to repair it but since nothing helped, over time, he liked this unpredictability and enjoyed the surprise that the distortion could create. “So much about all this is just chance.”
Yosuke Takeda’s series ‘Digital Flare’ – like abstract paintings “where light sparkles in all the colors of the rainbow inside the frames”.
Yosuke Takeda – Digital Flare
“Takeda’s concern is with light, and the color in his photographs is by no means pictorial color; rather, it is prism color that seeps out from the light nurtured within the frame. Although at a glance they look like aesthetic, pictorial images of the flickering of rays of sunshine filtering through the branches of trees, the images in the series “Digital Flare” are in fact photographs of strong light being drawn into the camera and the area within the frame being turned into what might be called a supersaturated state. This is the pure model for Takeda’s photography. Photographed in high resolution, the details are filled with light textures that undulate in an almost chaotic manner.” (text by Minoru Shimizu)
Samuel Zuder’s project ‘Face to Faith’ – capturing the silent majesty of one of the most fascinating places on earth – the sacred Mount Kailash in Tibet in an iconic collection of portraits and landscape panoramas.
Samuel Zuder – Face to Faith
“In the midst of the stony desert of the Changtang plateau, it towers up like a pyramid: Mount Kailash. Tibetans also call it “jewel of snow” due to its unusually symmetrical form. It is one of the most fascinating places I’ve ever been to. The four major religious traditions Buddhism, Hinduism, Jainism and Bon worship Mount Kailash not only as a sacred mountain, but they refer to it as the origin of the universe. Year after year, hundreds of believers set out for the exhausting pilgrimage to Mount Kailash. Out of respect for its spiritual importance Mount Kailash has never been climbed. In 1985, Reinhold Messner was authorized to climb it but he consciously decided against it. For this reason, Mount Kailash is one of the rare untrodden places of our world.”
Meike Nixdorf’s project ‘Your Earth Transforms’ – using landscape to illustrate abstract ideas on perspective and perception, and the earth’s crust as a metaphor to the idea of how change is often invisible.
Meike Nixdorf – Your Earth Transforms
“The Alps rise every year on average by about 1-2 mm. A transformation not visible to our eyes nor physically noticeable. What does this say about our perception?
Based on 3D-renderings by Google Earth from various satellite imagery, the project shows details from different mountain ranges in the Alps, the Cascade Range, the Rocky Mountains, the Himalaya, the Karakoram and the Hawaiian Islands. The images display their respective shape at a certain point of time. A frozen moment – yet there is a sense of change and movement.
This project is not intended to serve as a geological survey. Rather, it focuses on the powerful beauty of the Earth’s crust. One likes to believe that it is possible to hold on to a status quo. Like holding on to the idea of a solid formation of rock, there is no stable foundation which will stay exactly the same for generations to come. There is no status quo. The Earth—our world—is in a perpetual state of flux.”
Alicja Brodowicz’s series ‘Learning to Swim’ – “explores the mother and daughter relationship; it is about the physical and the emotional distance that increases as the child grows and gains independence. It is about the feeling of immense pride and also great pain. It is a story about “the challenges of feeling in between — youth and adulthood, the nest and the world, the comfortable water and the firm earth that we all must learn to walk on, someday.”
Seung-Hwan Oh’s series ‘Impermanence’ – colorful abstract portraits to illustrate entropy theory that the chaos we cultivate only increases.
The collection is created with the use of bacteria placed on the emulsion side of the developed film, leaving them in the homemade incubator over the course of months to consume the layer of gelatin. The process took the artist three years and only 0.2% of thousands of images have been attained in the final body of work. Fusing photography and biology in an unpredictable process, the artist aims to evoke an existential pathos in the viewer in realizing our delicate and temporal existence.
Seung-Hwan Oh – Impermanence
“Impermanence’ is about an idea that all matter including all the life forms would collapse in our spatial-temporal dimension we belong to. The conceptual idea was inspired by the second law of thermodynamics.”
Suzanne Saroff’s project ‘Perspective’ – still life with plants, fruits and vegetables, and their geometric abstractions revealed behind water glasses and vases, creating a colourful compositional dance between the subjects and their perspective on the familiar.
“I would notice something happening like the light coming through a stack of canola oil and be like ‘look, its beautiful!’ and whoever I was with would be like – ‘I don’t get it, it’s canola oil?… These series become quite meditative.“
Elsa Stubbé’s project ‘The aliens have eaten my garden’ (2016 – 2018) – “a personal and poetic study of the imaginary and narrative around nature and the link that man has with the latter two in Western culture. How has nature influenced our stories, and therefore our imagination, and how these also influence our natural landscapes.
I try here to create new stories combining images from my many wanderings in nature reserves or in places where the landscape has been landscaped to reconstitute natural spaces and archival images from popular scientific works dating from the 19th century, great period of Romanticism, or the 50s, beginning of science fiction, the two great vectors of imaginary in which we are, in my opinion, confined.”
Helen Sear’s series ‘Inside The View’ (2004-2008) – merging digitally picturesque landscapes and portraits of rear female heads facing them, with layers of delicate drawings as covered by lace veils, in a kind of double metaphysical game of perceiving reality as an unit of ‘before, within and behind’ – a contemplative state of being for the subject and a seductive romance for the viewer.
“I am trying to slow down the instantaneousness of the camera“