Maria Mavropoulou’s series ‘Inner State’ – serene rural sceneries captured during a period of crisis, with barely visible structures as a kind of neo-ruins to convey the feeling of being into the void between past and future.
Maria Mavropoulou – Inner State
“In this stagnant space, in this gap between eras, familiar Greek landscapes look bizarre, cut off the real world, pending for their unknown fate, as a visualization of the inner state of their inhabitants. The horizon is hidden behind thick fog preventing us to see what’s yet to come. Empty highways, solar panel fields, constructions left unfinished, rotten watermelons and torn flags seem stuck in an intermediate state, portraying the current situation, like distorted symbols of a bygone era of growth.”
Gregory Halpern’s series ‘Confederate Moons’ – a journey inspired by the total eclipse of the sun in August, 2017, to explore “the drama of that celestial coincidence intersected with the moments of life that directly preceded and followed it that year… The work ultimately became more of a meditation on the American South, on the state of the nation, and on the things that separate us and bring us together. I was fascinated by the idea that the entire nation was staring at the sun, reveling in the apocalyptic thrill of watching the moon temporarily extinguish our life-source, all together.”
Nao Tsuda’s series ‘Storm Last Night’ – “In my journey to Ireland… I was deeply preoccupied by a question about prehistoric times: “What were the ideological issues of the ancients?” Throughout my journey from island to island at the westernmost edge of Europe, I came to believe that these circle forts must have been humankind’s earliest constructions discriminating inner spheres and outer spheres. In other words, until then, people must have lived only in the outer sphere.
By constructing a circle, an internal existence became something concrete and not abstract for the first time. The basic concept of inner ideology may have crystallized then.”
Julien Mauve‘s series ‘The Island of Dragonflies’ (L’île aux libellules), 2016-2018 – a story about mysteriously disappeared civilization, where merging myths with science-fiction future in cinematic images, the artist questions our current relationship with natural environment.
Julien Mauve – The Island of Dragonflies
“HyBrazil is a phantom island, appearing in different locations on nautical charts as early as 1325. Many stories exist of encounters with the island. According to the legend, it is a cradle of an advanced society that has remained hidden until our days, veiled as it is by thick fog, which has kept it from being discovered. In 1850, the island disappears from every maps completely.
I went searching for this mysterious island and found it in Japan. These 21 pictures in the series come from the Island of Dragonflies (Akitsu Shima), the name of which echoes nature’s powerful place in the Japanese imagination. On this island, humans seem to have suddenly disappeared. What remains are some sorts of ruins, lost in the middle of abundant nature which seems to retake its rights. Have these sites been definitely abandoned or just isolated from the rest of humanity?”
Richard Alan Cohen’s series ‘Waterlines’ – vibrant abstract images capturing the horizon of passing time in the lines painted along the hulls of boats.
Richard Alan Cohen – Waterlines
“As a teenager, I spent the springtime scraping and painting, preparing similar boat hulls for the season ahead… The waterline is often encrusted with the residues of the past years. Pausing to study this evidence of where the boat has been, one perceives that the waterline provides a horizon. Above and below that are details of imagined landscapes, perhaps those that could be seen from the boats themselves when they sailed on the water. In developing these images, I share my own imagination and provide the seed for each viewer to form their own remembered landscapes. This project is ultimately an exploration of the minimal elements required to form a landscape in the mind’s eye – the waterline as coastline, the texture as weather, the footprint of barnacles as stars.”
Marja Pirilä‘s series ‘Milavida’ – “rooms which I transformed into camera obscura as if present and past were engaged in constant dialogue.”
Marja Pirilä – Milavida
“I began photographing the Milavida mansion in Tampere in 2011. The building, currently known as Näsilinna, had been standing empty for years. As I worked long days in the deserted silence of the house, its spaces began to exude its varied and wild history. In the dim, spacious rooms my eyes slowly became accustomed to seeing the wraithlike reflections born in by the light which came into being as the outside and inside spaces dovetailed into each other.
I repeatedly became aware of a sense of wonder: the blind photographer regained her sight! Eventually I had before my eyes that which I was seeking – I opened the shutter and exposed the photograph. The pictures recorded transitional spaces, doors, thresholds and doorways which reflected my feeling in the face of a change in life and the unknown and my love of light and its capriciousness.”
David Parker’s series ‘Sirens’ – panoramic photographs of solitary rock stacks inhabit the threshold between our world and the world of dreams. Parker’s technical artistry allows him to explore the symbolic potential of geographic landforms embedding his work with an air of timelessness and enigma.
David Parker – Sirens
For Parker the sirens’ song is a call to contemplation, not action, and these images chart his fascinated encounters with an enchanted world of forgotten archetypes. His pictures are intended, siren-like, to lure the viewer into a mysterious abstract world, both concrete and ineffable.
David Parker – Sirens
“Ultimately the sirens’ song is the song of art, which charms us into the ego-diminishing state of aesthetic enchantment, perhaps the goal and consolation of all art.”
Sara Silks‘ series ‘Natsukashii‘ – “From my earliest memory, there have been small moments when time stops, and a sense of being one with the world is unerring in its certainty. The images in this series have been a reverie and meditation for me, and are precious and wonderful gifts. Each location has special meanings. I have tried to capture both the memory and feeling of many of those moments in my photography and art practice.
“Natsukashii” is a word which stands for the state of “feeling nostalgic” or “fond/sweet memory.”
Murray Fredericks’ series ‘Vanity’ – landscapes of lakes with endless horizon where colours and light mirror and create infinite dimensions.
“Standing in the silken water, surrounded only by a boundless horizon, I sense a release, a surrendering as the self dissolves into the light and space.”
With the absence of human beings, the usual symbolism of mirrors as a reflection of our narcissistic nature, redirect our gaze away from ourselves into the immense environment and open visual portals to other worlds (source artist statement)
Murray Fredericks – Vanity
The series is the latest cycle in the 15-year ‘Salt’ project, which commenced in 2003 at Lake Eyre – Kati Thanda in central Australia. A short video showing a behind the scenes look.
Paul den Hollander’s series ‘Metamorphosis’ (2004 – 2007) – “the reflection of the adventurous and miraculous journey through the world of plants. It portrays the diversity of plant life, in its multitude of manifestations in time and space, full of mystery, colour, intimacy, beauty and vitality. The life-force which is visible in ‘Metamorphosis’ sparked even more interest for the electromagnetic field that is largely invisible to the naked eye, yet permeates and surrounds all life on earth.” (source artist statement)