Spanish artistic duo Angel Albarrán and Anna Cabrera have spent a lot of time in Japan, and their travels to the country have strongly influenced the aesthetic content of their work and the printing techniques they use.
Angel Albarrán Anna Cabrera – The Mouth of Krishna
“The series ‘The Mouth of Krishna’ is the story of the infant Krishna, wrongly accused of eating a bit of dirt. His mother, Yashoda, coming up to him with a wagging finger scolds him: “You shouldn’t eat dirt, you naughty boy.” “But I haven’t,” says the unchallenged lord of all and everything, in spot disguised as a frightened human child. “Tut! Tut! Open your mouth,” orders Yashoda. Krishna does as he is told. He opens his mouth and Yashoda gasps. She sees in Krisna’s mouth the whole complete entire timeless universe, all the stars and planets of space and the distance between them, all the lands and seas of the earth and the life in them; she sees all the days of yesterday and all the days of tomorrow; she sees all ideas and all emotions, all pity and all hope, and the three strands of matter; not a pebble, candle, creature, village or galaxy is missing, including herself and every bit of dirt in its truthful place. “My Lord, you can close your mouth,” she says reverently.”
Angel Albarrán Anna Cabrera – The Mouth of Krishna
“The most important thing is not to try to find a photo, but to find a feeling.”
“I studied Chinese landscape painting and became obsessed with the idea of trying to understand their way of looking at nature. As I found most of the holy mountains they had been depicting for thousands of years were almost destroyed by pollution or otherwise turned into tourist spots, it became for me a search for a landscape that doesn’t really exist, an idealized picture”
Pierre Gonnord‘s ‘Portraits (Retratos)‘ – inspired by the great masters of portrait genre of the 17th and 18th century, diving with a deep compassion into the soul of people from social groups disregarded by the society and depicting them with grace, respect and elegance to make us remember they are humans too.
“I choose my contemporaries in the anonymity of the big cities because their faces, under the skin, narrate unique, remarkable stories about our era. Sometimes hostile or distant, almost always fragile behind the opacity of their masks, they represent specific social realities and another concept of beauty. I also try to approach the unclassifiable, timeless individual, to suggest things that have been repeated over and over since time began.”
Pierre Gonnord – Portraits
More than 100 portraits made between 1999 and 2012 are collected in a new spectacular book published by ‘La fabrica” .
Pierre Gonnord is a French self-taught photographer who since 1988 resides in Madrid.
To learn more about the artist’s thoughts behind the series, watch his interview on the occasion of an exhibition in New York
Guido Mocafico‘s series ‘Movement‘ – all the moments in our life are carefully connected, creating an exquisite piece of art.
“In a horological movement, I find poetry meeting technology. The poetry of time elapsing, the change of seasons, astronomical movements, and technology which enables up to eight hundred mechanical pieces inside such a small volume, all working perfectly together, to reach the most accurate time calculation. Each one of these movements takes on a life of its own.”
Guido Mocafico – Movement
Some of the artist’s works are available as photo books, published by Steidl Verlag
Heterotopia is described by French philosopher Michel Foucault as a space neither utopia nor dystopia but rather, a space of duality and contradiction.
Mastering light and colour by placing mirrors and sheets of glass between the leaves, branches, flowers and bushes in front of her camera, photographer Karine Laval (French, who lives in New York) creates her layered manipulated reality and turns Long Island gardens into a vivid and exotic netherland.
‘In Woodlands Mat Hennek presents genuine portraits of trees, the results of numerous hikes through various forests in Europe and the USA… He removes spatial landmarks, alternately erasing the ground and horizon to unhinge any sense of direction. Light and shadow, pattern and structure build up to an impressionistic hymn—infinite, without a center, without beginning or end.’
Mervyn O’Gorman was not a photographer. He was an electrical engineer and worked for cabling companies but devoted his free time to his hobby – the photography. And he made great images – red colour, narrow depth of field, long exposure, subdued natural tones of the background…
These images from a series ‘Christina’ were made in 1913 and for about a century the identity of the girl remained unknown. It was supposed she was his daughter but turned out that she was a daughter of a close friend. Her name was really Christina Elizabeth Frances Bevan, born in Harrow, London, on 8 March, 1897 and died in 1981.
Dutch photographer was inspired by a studio portrait of a dog from the 1920s, she found in 2010, and realized that “Back then, people only made one photo each year in their best dress… for some people, dogs are one of the family.”