Miho Kajioka’s series ‘As It Is’ – capturing the passage of time inspired by Japanese aesthetics of the empty space and the concept of fleeting, fragile beauty of the changing seasons.
“These fragments of my life, from various periods and against changing backdrops, are not so different from each other, and the differences that remain aren’t important. Happiness, sadness, beauty and tragedy only exist in our minds. Things are just as they are.”
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.
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.”
Anna Reivilä’s series ‘Bond’ – ropes tied in beautiful lines around natural elements in a new way of creating a connection with and interpretation of the landscape, inspired by Japanese concept of ‘kinbaku-bi’.
Anna Reivilä – ‘Bond’
“According to Japanese religious ceremonies, ropes and ties symbolize the connections among people and the divine, as a mean to identify sacred space and time.
Inspired by Nobuyoshi Araki’s images and their mixture of raw violence and beauty, I study the relationship between man and nature by referring to the Japanese bondage tradition. The Japanese word for bondage, kinbaku-bi, literally means “the beauty of tight binding”. It is a delicate balance between being held together and being on the verge of breaking.
I search spaces where nature’s elements combine to create interesting natural tensions and continue this dialogue trough my interpretations by extending, wrapping and pulling upon these indigenous forms. I create a new sense of volume from the existing components.”
Jo Injeung’s series ‘Mysteries of Jeju Island’ – “a journey to the heart of the island, where the perpetual motion of nature is captured by the eye of the camera, discovering timelessness in a frozen moment.”
Jo Injeung – Mysteries of Jeju Island
“Jeju Island is the biggest island and the smallest province of South Korea. It is a hidden gem in Asia with its pristine forests, volcanoes, and waterfalls; a World Heritage site; a true mecca for Korean travelers.
Jo Injeung’s photographs not only capture the original beauty of Jeju Island but also make a reference to the concept of four elements, significant to the Korean culture. All four elements unite in Jeju-do, constituting the island’s greatest mystery.”
David Robin’s series ‘Dreams of the Kings’ – the Palace of Versailles and the Châteaux of the Loire in tracing the essence of the collective Western aesthetic initiated by the visionaries of the renaissance and realized through the fulfilled dreams of two French kings who imagined it on a grand scale.
David Robin – Dreams of the Kings
“I’ve created this collection of images as evidence of the aesthetic dreams and visions of Françoise I and Louis XIV (The Sun King) of France, and to speak to their indelible impact on our collective visual conscience. Both men — in their own times and in their own ways — moved the world towards beauty. Françoise I brought Humanism and the Italian Renaissance to France and introduced his countrymen to the genius of Da Vinci. Louis XIV, through his example and, some would say, because of his narcissism established an aesthetic priority and placed an importance on the grand and the beautiful still very much in evidence today.”
“On one of her journeys to Greece Gabriella Imperatori-Penn fell in love with the stone beaches of Chios. The water upon the stones made the most amazingly calming sounds which were emotionally moving and inspiring. In 2009 she photographed these stones in the studio with a focus that felt like a Buddhist meditation expressing that she saw each and every stone as it’s own peaceful universe or planet.” (Space SBH)
“The truth about reality is always in our souls. The whole of searching and learning is recollection. “ Socrates
Thierry Urbain – Anamnesis
Thierry Urbain’s series ‘Anamnesis’* – a journey through Mediterranean landscapes as a process of remembrance inspired by Plato’s concept of innate knowledge of everything and part of the circle of human’s life.
Plato suggested in his ‘Meno’ via Socrates’ words, that “since the soul is immortal and has been born many times, she has beheld all things in this world and the next, and there is nothing she has not learnt, so it is not surprising that she can remember what she once knew about virtue and other things.” Knowledge is in the soul from eternity, but each time the soul incarnates, its knowledge is forgotten at the moment of birth.
With lot of grain and reminiscent of a diary, the artist illustrates the idea of re-awakening (an– = un-, amnesis = forgetting, as in amnesia) and recovery of what one has forgotten, especially moral, existential, spiritual.
Thierry Urbain – Anamnesis
*Anamnesis /ˌænæmˈniːsɪs/, Ancient Greek: ἀνάμνησις / Modern Greek: ανάμνηση) – recollection, reminiscence, remembrance.
Platon Antoniou’s project ‘Coming home Greece’ – a personal story capturing with his iconic style the essence of the Greek soul through common people of everyday life from the Isle of Paros.
Platon Antoniou – Coming home Greece
“The camera is nothing more than a tool of communication, simplicity, shapes on a page. What is important is the story, the message, the feeling, the connection… My father used to do beautiful black and white drawings and I grew up with this sort of aesthetic in my head. It was so bold! I spent most of my adult life trying to find this visual language. If it is necessary, it is in there. If it is not necessary, it is not there. So strip it down, simplify it. Just go for the core…
My 35mm stuff is about context and atmosphere. It is not always about all the details I would get in a studio setting. The only thing is to focus on compassion, dignity and humility. It is a very powerful connection.
“The sense of the divine is an experience rather than a concept, a revelation rather than an intellectual construct… I recognise every photo by Awoiska van der Molen, I have been to all those places. I know the joy of saplings, the passion of a shrub, the sudden horror of the ravine, the lustiness of a tree stump, the untold doom in the darkest reaches of the undergrowth. These are not photos of or after Nature, the photos are part of that same Nature, of an event enabled by Nature via her camera at that particular point in time and that particular exposure.” (Arjen Mulder)