Hugo Deverchere‘s cyanotypes ‘Cosmorama’ – “explores, makes visible and materializes an inaccessible stratum of the light spectrum.
Consisting of several subsets, this series of cyanotypes was produced in relation with the Observatory of Teide, in Tenerife. Stellar clusters captured by a telescope, images recomposed from data that attempt an impossible mapping of the dark matter of the Universe, fragments of volcanic rocks whose composition is identical to certain meteors, signs of an animal presence harvested in a desert of lava where Nasa tested the Curiosity rover before sending it to Mars, plant forms taken from a primary forest testifying to the state of our continent 50 million years ago: the whole recompose a world outside of the world which upsets and transcends the spatial and temporal scales.
These images were produced from an infrared capture process with which astronomers usually observe “deep sky” objects such as planets, nebulae and black holes located outside our galaxy. Also developed by an astronomer, cyanotypy is a contact printing process that allows us to create an imprint of these radiations that escape our perception.”
Adriene Hughes’ project in four chapters ‘Threaded Icebergs’ – pristine arctic landscapes “marked by geometric patterns (either hand sewn, or marked through illustration) to demonstrate the way wind, language and memory travel, carving into icebergs the stories of the past, present and future. Geometric pattern mirrors the sacred viewpoints of indigenous and religious practices throughout time, viewing the earth as sacred.
Lacking noticeable objects in the landscape, we are left with nothing but shapes, color and light. All of which combined to affect my mood, and to impact my emotions, which I hope comes through in my work.”
Adriene Hughes -Threaded Icebergs
Feeling connected to the healing power of nature after personal struggles for health surviving, these images are also a call into action to balance of our collective ecosystem and an act of honor and respect to the nature that made us.
Manuel H. Márquez – Dancing around gasoline geysers
“The country seems to only need a spark to burst into flames. This condition is deliberately reflected in this series of images. All of them present different degrees of fogging, burning, re-exposure to light, and intervention of translucent ghostly elements in their surface. Within the current state of affairs, to produce a clean and unspoiled image in Mexico seems to be an attempt to idealize reality and to overlook the limitless historical, social, and individual happenings taking place on its territory. These images offer an escape while simultaneously reflecting a parcel of reality.”
Chun Hua Wu’s series ‘Paintings, array’ – a touch of nuanced subtlety from intimate moments in time almost like scattered entries of poetry in intricate relationship with textures, shapes and colors within a confined space (extracts from text by Mami Ku).
Yoshiyuki Oki’s series ‘On the frog and his life’ – “When a child, I found a small dried-up frog about the size of a fingertip and took it home. Carefully I put it away in a box together with other useless things. A dozen or so years later I came across the box. The frog had turned into nothing but bones. I found the transformation beautiful.
My eyes are turned to small things or ordinary scenes, the things easily overlooked. With a camera, we can photograph only the surface of things. But once I have them as photographs, the sensation that I had when I saw the small things begins to turn into something substantial, which always gives me surprise and joy.
Dolorès Marat’s series ‘Orient’, part of the project Voyages – “the spectator is free to imagine multiple functions, adventures, feelings. Her photographs all function in a very particular manner: they provoke the imagination of the viewer. Ghost-like characters appear from into the night. People, places and objects are all decorative elements that the photographer catches in surprise, redefines in order to re-appropriate them. She transforms them with her talent into magical and unreal photographs that flirt with eternity” (Michel Guerrin)
Brigitte Lustenberger’s series ‘Still Untitled’ – inspired by baroque still life paintings metaphorical illustrations of the changes of fate as a result of the constant human interventions to the transience of being.
“Photography seems to snatch moments of time from mortality. But the captured moments are not more than representations of the past. In my photographs I try to stop the decay, well knowing that all is in vain. Still I love to linger on the beauty of decay.”
The process includes selection, staging, observation of the “passing away and withering” of the objects, and then photographing and surrendering to negative. Shooting exclusively with natural daylight allows the light to leave an “impression” on the negative, thus leaving a trace on it and becoming an intense experience of its own.
Jennifer Graham‘s series ‘In pieces, over time’ – “Taken shortly after the unexpected loss of a friend, these images reflect the transience and fragility of life and the seeming indifference of nature to our suffering. And yet, in moments of stillness and reflection, she imparts simple wisdom: While death comes suddenly, the loss of a loved one happens more slowly, in pieces, over time. And so does healing.”
Jennifer Graham – In pieces, over time
Special thanks to the photographer for the statement.
Anastasia Samoylova’s series ‘FloodZone’ – “an expansive photographic project reflecting and responding to the problem of rising sea levels. The project began in Miami in 2016, I moved to the area, my first experience living in a tropical environment. It was the hottest summer on record. Through daily walks I began to realize how the city’s seductive tropical palette and quality of light concealed the growing dissonance between its booming real-estate market and the ocean’s encroachment on its shoreline. Ocean views are prized in the real-estate world, with little regard for building projects’ locations in high-risk flood zones. Investors seem to turn a blind eye to the reality that Miami is steadily slipping underwater. Miami Beach, in particular, is a striking case study: the artificial island boasts some of the most luxurious properties, but it is subject to regular flooding. Living in Miami is bittersweet: it looks and feels like a paradise, but the only secure roots belong to mangrove trees.”
Kathrin Linkersdorff’s series ‘Wabi Sabi’ – “portraits of withered flowers standing out from a deep black where only the shine that radiates from their colours, bestow them with a beauty which, at the height of their bloom, they perhaps never possessed, and thus appear to be more alive than ever.
The series focus is on the relationship between shine and darkness in a search for the play of shadows that literally unfolds between the colours and forms of the image. The space in-between is the true bearer of meaning. When we look at the photographs, Kathrin Linkersdorff empowers us to immerse ourselves in a WabiSabi process”.
“…Lacquerware decorated in gold is not something to be seen in a brilliant light, to be taken in at a single glance; it should be left in the dark, a part here and a part there picked up by a faint light.” (Jun’ichirō Tanizaki, essay “In Praise of Shadows”)
Source – extracts from article by Daniela Nicklas, Art historian M.A, translated from German by Dr. Helen Adkins