Kenryou Gu’s series ‘Wu-Mai’ – a contemporary version of Chinese traditional landscape paintings inspired by the specific beauty of air pollution.
“In Chinese there is a word called “Wu-Mai” referring as the same meaning as smog. The word originally means the storm caused by sand or dust… Sensing from this harmful yet purely white air, it’s almost like the flowing of time in a Chinese traditional landscape painting…This project started from 4 years ago as a continuous series, I still remember at that time a lot of naive thoughts from people regarding to the “Wu-Mai”. However as the time passes by, people including myself has few concern about “Wu-Mai”. It is not even about how the environment effects on our health, we have became numb towards this issue and continue our lives as nothing have happened.”
Continuing to explore relationships with time, beauty and destruction, in this series the artist focused his interest to visualize sound waves with paint. After a careful selection of dynamic music in all genre — Miles Davis, Grace Jone, Pink Floyd, Prince, Carl Orff’s ‘Carmina Burana’ or Wagner’s ‘Ride of the Valkyries’ – he splattered different colored paint on top of a speaker over some translucent material. Then turned it on to full volume. The vibrations of the speaker threw up high the paint creating interesting sculptures and with shutter speed of 1/7,000th of a second, Klimas captured them. It took him 6 months and about 1,000 shots. The total amount of paint used on the project was 18.5 gallons for 212 final printed images.
Fascinated by self-organizing systems in nature such as termite mounds, swarming locusts, schooling fish and flocking birds, the artist mimicked their behavour. By constructing installations in his studio from unexpected materials found in chosen locations, and then returning back to photograph them, he shows not how we humans impose our will to nature, but how nature imposes its will on our stuff.
“By placing them where they seem least to belong, I aim to tweak the margins of our visual vocabulary and to invite fresh interpretations of everyday things.”
Arduina Caponigro’s series ‘Inner Moonlight’ – a visual journal recording reflections of moments of intimacy and beauty to uncover the obscure. Through exploring the interplay of shadow and illumination, the artist releases the focus of a current emotional state and consciously accepts the wisdom of the darkness in a process of learning how to be more present.
“Like the moon shining out from behind the moving clouds, the magic of our full humanity, including its darkness, waits in shimmering stillness to be revealed.”
Alexander Mourant’s series ‘Aomori’ – exploring the philosophy of the Japanese forest in psychological state of the intangible blue, inspired by Rebecca Solnit’s, Hokusai’s and Yves Klein’s admiration of this transcendent colour. “For an artist, an intimate investigation of one individual subject can lead to limitless fields on intertwining narratives and unseen connections. There is so much in the colour blue.”
With a blue glass from a church window, cut to size to fit the filter holder of his camera, the artist exposed his film directly to the blue world. “Glass, which is normally a material of separation, is employed directly in my process to unite both medium and idea.”
Alexander Mourant – Aomori
“Aomori, meaning ‘blue forest’ in Japanese, is a synthesis of two existential ideas – the forest and the nature of blue. Together they create a place of high intensity, a place which questions our relationship to time, colour and self. Through these coalescing notions, it is my intent that these photographs can reach a far higher level of engagement than conventional photographs.”
Barbara Cole’s series ‘Meditations’ – underwater romantic painterly abstractions in testing the nature of photography and its impact on our experience of reality.
Barbara Cole – Meditations
“Water allows me to move the human figure in unconventional ways. Photography affords me the ability to play with notions of time and place. By seeing through water, rather than through air, I am able to re-envision the nature of our relationship to our surroundings. Working in the water also provides an ideal space to continue to explore figurative. It also allows me to refocus attention on this natural resource that we have in abundance and is often taken for granted…The indistinctness of the human figure, the irregularity of the frame in which it appears and the ephemeral atmosphere all echo, for me, the fleeting impression of life reflected in water.”
Ellen Jantzen’s series ‘Unity of Time and Place’ – “How is reality experienced? How is it revealed? … Some say, all time exists at once; the indefinite continued progress of existence and events in the past, present, and future are regarded as a whole… I find reality difficult to define and a challenge to depict. I am drawn to this challenge by striving to make visual that which may not have a visual component. I am always interested in looking beyond the surface in the hopes of revealing something deeper and unexpected.”
Ellen Jantzen – Unity of Time and Place
“After spending the last several years immersed in the past I am ready to embrace the future. But as I set out, the past is with me, transformed. All the losses are still there but there is a brightness forming that allows me to see the entirety, the unity of time and place.”
Ryan Zoghlin’s series ‘Aerotones’ – capturing the lines and shapes left by the planes’ trails as creating a beautiful graphic aerial sculptures at an airshow. These abstract temporal figures seems simple in a contradiction to the complex mechanics of the machine.
The series “Aerotones” is produced on glass and backed with 23.5 karat gold powder. These images are considered examples of modern orotones by the Research on the Conservation of Photographs Project at the Getty Conservation Institute.
Riitta Päiväläinen’s series ‘River Notes’ – sculptures of fabric wrapped around branches in the forest, and arranged in abstract shapes, and their constantly changing water reflections as a mirage to our dreams, memories and subconscious.
“Wading in the rivers, streams, and flooded areas gives me a totally new perspective of seeing. I am in the world of beavers, fishes, and other water animals. I observe the nature from an angle and perspective that most of the people never do.”
Jorma Puranen’s series ‘Shadows and Reflections’ – readdressing historical portraits adding new layer to the dialogue between the viewer and the object through using the glare of light from their shiny surface.
“For me the thing is about trying to create some kind of living context to reconsider the lives of these people once being portrayed… Light is something that makes the world visible and photography possible… Photography’s capacity to register reflections is actually its singular gift. What other medium deals so expressively with the play of light and shadow?”
Jorma Puranen – Shadows and Reflections
“If you think of those paintings from the early 17th century, there was no electricity and they were in somebody’s living room, where very often was dark. So, you have to learn to look at the paintings when it’s dim, and when it’s almost no light at all. And they speak, and in another way, differently to you, in darkness. That’s when the paintings and these people become really live and present, and they start to move and talk to you over the centuries.”