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
Clark (photographer) and Pougnaud (painter) series ‘Eden’ – still lifes from the imaginary garden created with small pieces of nature in front of a painted canvas. The poetic vision of the French artists with references to pictorial and surreal expressed with combined techniques of staging, photography and painting, to capture the rhythm of nature in each season as part of the constant but ephemeral circle of rebirth.
Jocelyn Lee’s series ‘The Appearance of Things’ – “ongoing examination of the physical world. Encompassing and fusing still life, portrait and landscape genres, the works depict bodies enmeshed in an ephemeral environment. The female forms are submerged in water or dappled in sunlight, counterpointed with contemporary memento mori of vivid and painterly still lifes of rotting flowers and glistening fruit. Collectively, the works offer a melancholy yet unsentimental reflection on life’s transitions through stages of birth, blossoming and death.” (Huxley Parlour Gallery)
Jocelyn Lee – The Appearance of Things
Jocelyn Lee – The Appearance of Things
To learn more about the artist’s thoughts behind the series and the process of making it, watch Jocelyn Lee in conversation with Assistant Curator of Photographs at the Victoria and Albert Museum, Catherine Troiano, for the opening of ‘The Appearance of Things’ at Huxley-Parlour Gallery in April 2018.
Petros Koublis‘ series ‘In dreams’ – “There are limits to our perception, therefore we are not able to fully perceive what is essentially mind-independent, free of form, shape and definition. We are bound to keep addressing a mental version of reality, limited within the confines of our understanding. Through Mythology the human spirit could philosophically approach those remote areas of a system much bigger than what we are able to perceive. As if through Myths, our spirit is able to overcome the boundaries of the mind and expose our intuition to a much greater reality, letting us lift the veil for a moment and feel what lies underneath. These primordial narratives are not attempting an interpretation of the unknown, but they offer an accumulation of the human experience, they talk about the history of the Psyche, the age-long dreams of young humanity. Then, in the form of a lucid dream, they reveal the archetypes that connect us with the most distant areas of our spirit, where the seeds of our evolution were first planted into the fertile soil of imagination. Beauty can be applied both to the visible and the intelligible world, without losing its perceptible attributes…”
Sybren Vanoverberghe‘s series ‘2099’ – “images of remembrance linked to my perception on the constant evolution of history and its repetitive character. Deconstructed places and manipulated icons are working on an associative basis to create a new overview of the present. I am experimenting with what is staged and what is not and how a photographer can interfere in the landscape by working on an underlying lyricism in the images. The work can both be seen as a prophecy for the future as well as a desire to the past. Some photographs are taken by chance and close to home, other were chosen to photograph on fixed historical locations and metropoles.”
27 female portraits from behind where layers of veils that “appear to drop from the sky, pierced by a gleam that alights and overflows like water on a riverbank” evoke the imagination of the viewer … “And we immerse ourselves in an emotional universe, it is incumbent on us to weave threads together. Our task is to lift the veils, to search for a secret path, an unveiling.” (Valerio Consonni)
Alessandro Vasapolli – DéVoilées
The images are without post-production and are published in a book.