Jacques Pugin’s series ‘Blue Mountain‘ (1995–1998) – Switzerland’s landmark, the majestic Matterhorn, in mixing its raw landscape beauty by adding painting, straight lines, curves, shadows and light, to “correct nature’ and create a new dynamic composition of dreams and nightmares in the blue realm of the twilight.
Jacques Pugin – Blue Mountain
“The mountains of Pugin are like Russian dolls, intertwined with each other, strangely similar and yet different, but all redesigned with a maniacal care, recomposed and colored in the manner of a painting… By working on his volumes, reshaping his contours, giving him the thousand and one nuances of the night, Jacques Pugin shows us what we usually do not see: a play of forces and lights, hidden symmetries, shadows that speak or are prolonged, an alphabet of signs that must be learned to decipher.” (Jean-Michel Olivier)
Gail Albert Halaban’s project ‘Out My Window’ ”refers to what neighbors see through their neighbors’ windows in the cities of the world. The windows are fragile borders between the familiar and the unknown, between the rushing noises of the city and the timeless quiet of private lives. Set within the context of rising city populations and a global construction boom, the photographs present a portrait of how strangers live amongst strangers and the challenges of creating communities, relationships, and areas of privacy. The urban experience became the focus of my work, a way to share my realization that even alone, we need never be lonely. The process of making the photographs connects neighbor to neighbor, creating community against the loneliness and overpowering scale of the city. With the evolution of imaging and communications technology, the project has a renewed energy as I expand from my NewYork home to the cities of the world.”
Chris McCaw’s series ‘Sunburn’ – painted by the sun Zen landscapes in black and white, produced on paper negatives with handmade cameras.
Chris McCaw – Sunburn
“In this process the sun burns its path onto the light sensitive negative. After hours of exposure, the sky, as a result of the extremely intense light exposure, reacts in an effect called solarization- a natural reversal of tonality through over exposure. The resulting negative literally has a burnt hole in it with the landscape in complete reversal. The subject of the photograph (the sun) has transcended the idea that a photograph is simple a representation of reality, and has physically come through the lens and put its hand onto the final piece. This is a process of creation and destruction, all happening within the camera.”
Forced to leave the country as a seven-year-old child, the artist returned to this eerie area of beautiful bubble pockets of water and spectacular steaming gases in the Andes Mountains, to discovery how time and space reshaped perceptions and personal memories.
Luis Lazo – El Tatio El Hombre Que Llora
“My work interweaves, landscapes and portraits to reveal stories of shared experiences in a reflective and hopefully moving manner, capturing the relationship of the human subject in time, history and emotion. My main consideration is to engage and record the silent and fleeting nature of these little moments. To express their importance to me and capture their distinctive spontaneity.”
Caleb Cain Marcus’s series ‘A Portrait of Ice’ – investigating glacial landscapes in a personal poetic journey in subtle blue, gray and cyan, as a part of our collective memory through million years history of the earth.
“When I am on a glacier there is a moment when the vast beauty enters me. And for that moment, the glacier is capable of shifting human consciousness and altering the reoccurring hum of reality. It is only you and the ice. A shard of something that has accidentally entered into this world. Then the ice screws’ melodic chime brings you out of one trance and into another.”
Caleb Cain Marcus – A Portrait of Ice
These photographs of glaciers of Patagonia, Iceland, Norway, New Zealand and Alaska, with painterly quality and no horizon, shift the perspective in a sense of losing the scale and raise awareness about environmental issues. ”Living in the city it easy to forget about the land; to forget that our history is held within the ice; that our history is melting. The Inuit elders say the melting of the ice is the land crying out in pain. Now we must listen.”
In more than 100 stunning ambrotype portraits of farmers and chefs accompanied by brief honest answers, Francesco Mastalia captured in his project ‘Organic‘ their beautiful, powerful, sensual stories and philosophy.
“Organic is working with nature, not telling it what to do, not demanding of things it can’t do.”
The archaic photographic technique is in refined harmony with the passion of these 21st century women and men who re-embraced the old ways of producing and preparing food. “Organic is the old, ancient, natural way that was predestined from all eternity for us to grow our own food.”
The project ‘Organic’ spotlights New York State’s Hudson Valley but opens a global dialogue about our future in living organically and sustainably in respect to the Earth. “Organic” is not just about growing and producing food, it is about the life of the planet.”
Pilar Pequeño’s series ‘Submerged Plants’ (Plantas Sumergidas) – serene still lifes of underwater flowers, embraced by tiny bubbles, to capture a piece of nebulous consciousness in portraying the architecture of universal beauty, and exploring certain aspects of the diverse manifestations of the natural world.
Pilar Pequeño – Submerged Plants
“I think it’s an inside look, trying to express my feelings with images. I always use natural light and I think that the same subject can have different images depending on the moment of light. What I’m trying to do is to imitate the human eye, with all its nuances that it manages to capture in its vision.”
François Halard’s series ‘Casa Ghirri’ – photographs where the sense of the artist’s presence, the objects that had surrounded him and the place itself are the main protagonists in a play, weaving their roles and create one intimate portrait of the great Italian photographer and the spirit of his house.
The idea for creating such an album was born after an encounter with Luigi Ghirri’s wife, Paula, in 2011. An album not only as separate silent notes about the decoration but as a poetic nostalgic story, told masterfully by François Halard, reflecting with the same palette the life and the energy of the artist.
Alfred Ehrhardt (1901 -1984) ‘Mussels and Snails’ – a fascination with laws of nature: structural forms, beauty and mathematical precision as timeless cosmic symbols existing beyond the material realm.
Alfred Ehrhardt – Mussels and Snails
“What technical laws nature follows in its creation of forms and what a model of an architectonic and motoric spirit governs these organisms when they develop the shape of their bodies, leaves or shells?”
Through photographic studies of natural marine artifacts as corals, sponges, mussels, snails, sea urchins, and starfish, the artist expressed his great respect to the wealth of nature as an eternal force.
The first photo book ‘Mussels and Snails’ (‘Muscheln und Schnecken’) was published by Heinrich Ellermann Verlag in 1941 and in 1968 a new edition followed.
Xiaoyi Chen’s series ‘Koan’ – using the photogravure process and with Eastern aesthetic to explore beneath the surface of symbolic and following to the Zen and Taoist philosophy opening up the territory of the pre-verba in getting closer to the concept of purity.
Xiaoyi Chen – Koan
“Tao and Zen always advise people to stay absolutely quiet and purify thought processes. In order to achieve this goal, our attention should focus on the most basic form of the universe’s existence. In Zen Buddhism, Koan is a story or riddle used to help in the attainment of a state of spontaneous reaction, free from planning and analytical thought. In contradiction to Western philosophy, Koans emphasize the inadequacy of language and words, and the importance of intuition over reason and logic, to transform the self.
I named the series Koan, and selected abstract landscape photographs to do a photo-etching process; the results of this craft are poetic and full of imaginations. Also only uses black ink and print on different Japanese papers, the color derives from the atmosphere of desolation and melancholy and the expression of minimalism in ancient Chinese poetry and monochromatic ink painting.”