“These images have become self-reflections. They speak more of who I am than I can find with my own words. These can also be reflections in a more general way representing the shy ones, the introverts. We are present in our own way. Not always so visible but taking part in our own quite way.”
“I began this ongoing series of my daughter fifteen years ago. These particular images work as narratives. Alone, or in combination, they have a story to tell. As metaphorical portraits, they suggest the essence of a person, rather than offer any literal interpretation. I like to think of these as visual vignettes that suggest half-remembered, fragmented dream worlds. They borrow from the past, my ever-changing and skewed memories of that past, and fleeting moments in time.”
Diana H. Bloomfield – Figurative
“The images are printed in historic processes (e.g., gum bichromate; platinum/palladium; cyanotype, and sometimes a cross combination of those processes). The layers are hand-applied (brushed) on watercolor paper, exposed to UV light, and developed“.
Read in details about the process on Diana H. Bloomfield’s page ‘How it Works’
Luis Gonzalez Palma‘s series ‘Möbius’ – through portraits of indigenous Guatemalans establishing a relationship “between the emotional, figurative portraiture and the abstracted, geometric imagery. These two systems represent our craving to understand the mystery of life from different perspectives.”
Luis González Palma – Möbius
“From the beginning, my work has been a reflection on the look. How do we construct our internal experience of a couple of eyes fixedly staring at us? How are the shadows, brilliance and all implicit geography within each photograph interpreted and elaborated inside of us? If the way we look is concocted from the social and cultural, we may conclude that all looks are political and all artistic production is subject to this kind of judgment. The glance as power. From this point of view, I feel that the work of art is a possibility of evidencing this, of questioning the way in which we look, of interrogating the history that has produced these “glance grades” and, therefore, the ways in which we react to the world. In my artistic process I have tried to create images that invite the observer to examine by means of what I call “emotional contemplation”; assigning, through the beauty in them, the meaning of their shape. I have constructed scenarios and I have modified certain countenances through the years in order to create images that would permit other perceptions of the world, other ways of understanding and modifying it internally.”
Carol Inez Charney’s series ‘After Painting‘ – reinterpreting the work of classic iconic paintings, refracted by water to reassemble a new point of view about these paintings through photography.
“For me the water is the veil that allows the past and the present to collide. Initially I was working with the camera’s ability to selectively focus, though this has now led me to working with the idea of taking details out of context from the whole and then reassembling them to create a new visual conversation about a particular painting.”
The paintings the artist was inspired are works by Leonardo, Van Eyck, Van Gogh, Monet, Matisse, Chagall and Picasso.
Carol Inez Charney – After Painting
“The ‘After’ designation refers to the art-historian’s way of labeling copies of old artworks made by admiring younger artists, a common practice before the advent of photography, and a way of paying homage to and learning from the past: Van Gogh copied Rubens, and Rubens copied Leonardo, and so on.” (An essay by Dewitt Cheng)
“A country named after a desert. One of the least densely populated places on earth. Defined by its rich variety of colors—yet in a forever changing, yet completely barren landscape. Namibia’s landscape draws you in, through a vast brown plain of scorched earth, and steers you over the white surface of a salt pan to finally arrive in the gold tones of the sand dunes. Patience is required to discover the wide range of Namibia’s subtle scenery.
It literally takes you hours, driving though nothing, to at long last arrive at…more of nothing. The sight of other people is rare and only the strategically located gas stations are a reminder of the world beyond. This country is in another time zone—time seems to move slower but it feels more logical, somehow. Captivated by these washed out yet delicately colored landscapes, you can drive for hours. Chaperoned by herds of giraffes or zebras, shadowed by flocks of flamingos, suddenly stumbling upon a family of elephants. The animals look up curiously, but soon forget about you and slowly continue their journey, unhurried by your presence, at their own pace.”
Valérie Belin‘s series ‘Black Eyed Susan’ – interweaving images of flowers and women to question the concept of consummate beauty as pure decoration.
Using the plastic beauty of the ideal post-war female and mixing it boldly with plenty of flowers, the artist created dreamy painterly portraits of the excessive decorativeness to evoke our societal stereotyped visions fractured through the layers of time.
Valérie Belin – Black Eyed Susan
Currently there are two series dated 2010 and 2013.
“Follows a baroque still life tradition to evoke meaning by showing and choosing certain objects. My images are very much about the transitoriness of being and the constant human involvement in it – and its resulting changes of fates. 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.
All the lighting in all the photographs is natural daylight coming in through a window. I found reference and inspiration in baroques paintings.”
The photographs were taken along the Rhine on the verge of the absence of light – in twilight, just before dawn, shortly after sunset, in the fog, in the late fall and winter season – to convey that gloomy romantic mood and giving them the sense of generic atmosphere of any lazily flowing river in the world.
“To lose myself in situations and images, to indulge in the longing for stillness, is a major element of my artistic work. My works are intimate encounters. Emotion and ephemerality become manifested in them.”
“River” is a consistent sequel to the “Wald” series confirming that in Michael Lange’s images the dark beauty of nature is magical.
Using colour is something unusual for the German photographer who has mastered to look at the world in black and white. “You can’t just take a colour picture and turned it to black and white, and expect to have the same impact. To achieve the perfection of that way of looking have to sharpen the view towards black and white.”
However while visiting Paris for specimens all of a sudden he saw their beauty in colour. “There it was. Something amazing, that could be told only in colour.”
The elaborate creative process to achieve such a transparent effect and reveal the fine details is his own invention and printing them in handcrafted Japanese paper highlighten their beauty and fragility.
To learn more about the artist’s thoughts behind the series watch this video
“I believe we carry with us into this life more than simply the codes for the present iteration of our limbs and eye color and liver size. If we carry inherited physical and behavioral traits, wouldn’t we also carry inherited traits of consciousness? We are all a learned thing – an ever-gathering and ever-adjusting animal – nothing is lost. It is those traits that I use my camera to find. They are the ghosts of presence and memory, the vestigial elements we carry within and about us as invisibly as spirits.”
To learn more about the artist and his other projects watch his talk at 555 Gallery.