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)
Rob Hudson’s series ‘North Towards the Orison’ – into the realm of imagination and the fusion of the Orison /orˈi-zən/, an old word for a prayer, and the Horizon, as a sense of living space between land and sky, inspired by the poetry of John Clare and the story about his escape in searching for his lost love.
Rob Hudson – North Towards the Orison
“In 1841 the poet John Clare walked out from the asylum in which he was incarcerated at High Beach in Epping Forest to walk the 80 miles north to his home in Helpston, near Peterborough. He went in search of his first love Mary Joyce, who’d been dead for three years and who he believed to be his wife, despite being married to another woman. The walk took Clare 4 days.
“I had imagind that the worlds end was at the edge of the orison & that a days journey was able to find it so I went with my heart full of hopes, pleasures & discoverys expecting when I got to the brink of the world that I could look down like looking into a large pit & see into its secrets the same as I believd I could see heaven by looking into water.” (source artist statement).
Arno Elias’s ‘The Lost Series’ – “hand-painted photography as a means of engaging philosophical disquisitions on culture, humankind, and wildlife inspired by his diverse experience and extensive traveling across various continents. This selection of Elias’ work reflects the artist’s wishes to maintain the cultural originality of the natural world that is or to be “lost” in the wake of globalization and industrialization.” (statement about The Lost Series)
Thomas Struth’s series ‘New Pictures from Paradise’ – large-format landscapes of dense primeval jungles and forest from all over the world as a deeper inner connection with the consciousness through contemplation and appreciation of nature. Thy are not a longing for a lost paradise or utopian visions, but a state of feeling to be one with the Universe at the present moment.
“Although they have a strong feeling of time, they are ahistorical. One sees a forest or a jungle but there is nothing to discover, no story to be told. They have more to do with the self. The viewing process is complicated, and the viewer becomes more aware of how he or she is processing the information, heightening an awareness of the here and now.”
Cathleen Naundorf‘s ‘Haute Couture Colour’ – vivid images with pictorial quality and sense of mystery, unfolding layers of beauty, glamour, sophistication and exquisiteness of fashion as art, inspired by the timeless Italian and Flemish Renaissance masterpieces and Horst P. Horst’s influence.
“I was not really interested in fashion, because it was for me just clothes and in Germany I was thinking that their function is to keep you warm. When I started to see magazines, I started to realize the difference between a commercial fashion shoot and an artistic shoot… And, when I looked at the photobooks of Horst P. Horst, I discovered how fashion could be art.” After 10 years traveling around the world, she finally settled in Paris where was mesmerized with haute couture. “I thought that this couldn’t be a fashion, because it was so amazing.” (Documentary film about Cathleen Naundorf)
Cathleen Naundorf – Haute Couture Colour
Cathleen Naundorf works with analogue large-format cameras combined with Polaroid film or negative film
Ahn Jun‘s series ‘One Life’ – “investigating the relationship between performance and photography, surreality within a real world made by beauty of coincidence”
In her unphotoshopped photos resembling paintings, the artist wanted to capture imaginary situations “as if your everyday lives stopped temporarily and the gravity disappeared for a moment.” She explained her choice of apple as a symbol with multiple meanings. “Sometime it means the Newton’s apple and sometime it means the fruit of knowledge, and so on… In reality, if you throw an apple, it will fall … I wanted to express the law of nature or the apple transcending its destiny after it was thrown away.”
Ahn Jun – One Life
The quotations in the 2nd paragraph are from a short video about the artist, created by Christophe Guye Galerie, where could also have a quick look at her other works.
The series is published in a photobook by shashasha (they deliver Japanese and Asian Photography worldwide).
Sebastian Schutyser’s series ‘Flowers of the Moon’ – capturing with black and white infrared photography the mystical aura of the Mountains of the Moon, unveiling the pristine beauty of these landscapes as a lost paradise.
“In the heart of Africa lies an icecapped massif with a mythical resonance: the Mountains of the Moon (Rwenzori Mountains). The ancient Greeks referred to them as the supposed sources of the river Nile. Ever since, explorers, scientists and adventurers have been fascinated by this last great mountain discovery of the world, on the border of present Uganda and the Congo. The afroalpine climate of the Rwenzori Mountains is determined by two geographical factors: they are very near to the equator, and high above sea level with peaks over 5000m. These particular conditons have provoked an extravagant vegetation. Most stunning are the giant heathers, senecios, and lobelias. What emerges is an image of a sublime landscape in resonance with the paintings of Douanier Rousseau.”