Johan Österholm’s series ‘Peculiar Motions at Dusk’ – “On an autumn day in the mid 1660s the young Isaac Newton found himself observing the orchard through the window of his study at Woolsthorpe Manor in Lincolnshire. As the afternoon descended into dusk and the moon appeared as a pale disc above the trees, he was startled by the sight of an apple dropping to the ground. ”Does the moon also fall?” he asked himself, as he returned to the worktable, and made a mental note for what would later become the Law of Universal Gravitation, the starting points for the Scientific Revolution.”
Suzanne Jongmans’s ongoing series ‘Mind over Matter’ – portraits in the tradition of the 15th, 16th and 17th century Dutch masters, dressed with sculptural form costumes of recycled materials created by the artist herself as a swing from past to present in observing the existence of another reality.
Suzanne Jongmans – Mind over Matter
“Most people throw away foam rubber, but like a child I see the diamond in a stone. The idea of making something out of nothing changes our look on reality. A piece of plastic with text printed on it, used for packing a coffee machine or television can resemble a piece of silk. And the lid of a can of tomato puree can look like a ring… Textile poetry drew from a mundane visual language, a significant reminder of the overwhelming amount of foam which would otherwise be lying in landfills instead of presenting things of beauty.”
Sonja Braas’s ‘The Passage’ – minimalist landscape of frozen moments as a journey through fictitious space to depict time as a subjective dimension depending on the viewer.
„Through the gradual realization, that the images do not meet the expectation of authenticity and the resulting dissolution of the illusion of a chronological flow, assuredness in defining a position in time and space is replaced by assumption and interpretation. Space and time become abstractions that are no longer independent from the viewer, but are on the contrary completely based on the viewer’s perception.”
Sonja Braas – The Passage
“The chronological succession is implied by the continuously changing sky and the change of source and intensity of the light: a temporary, “seasonal”, gradual darkening from nearly blinding daylight to almost absolute darkness that only the light of the moon and the stars interrupts. Changes in the landscape lead to the perception of movement. It is not a directed movement: the last image connects to the first, perhaps one arrives at the same location the journey had begun. The implication is that of a loop – the journey might not begin or end but repeat itself.”
Rare ethereal Polaroids with emotional depth made by the Russian filmmaker Andrei Tarkovsky compiled in the book “Instant Light: Tarkovsky Polaroids and Sculpting in Time” published by Thames & Hudson. Landscapes and intimate moments about his home, family, friends and places in Russia and Italy made between 1979 and 1984, capturing with his unique aesthetic visual language the ‘flight’ of time and life as a reflection.
“Never try to convey your idea to the audience. It is a thankless and senseless task. Show them life, and they’ll find within themselves the means to assess and appreciate it.”
“We wish to surround ourselves by places and people that bring out the core of humanity, brings us back to our natural roots, to aim for a state of being in which the boundary between our cultures and backgrounds seems to blur.”
Nicolas Dhervillers’s series ‘Hommages’ – a combination of his monumental landscapes with characters from canvases of great painters from Nicolas Poussin and Gustave Courbet to Frank Cowper in paying tribute to their work and giving them a new spiritual existence into a modern surreal setting.
Nicolas Dhervillers – Hommages
”In grandiose compositions, Nicolas Dhervillers exalts the vision of a man immersed in the heart of lush. Its isolation in the sine qua non of its development. Tributes thus refers to the romantic myth of abandonment and the quest itself. Paradoxically, the extras seem to have a moment of idleness in this ideal landscape, yet they embody many souls in search of identity”.
Stefanie Schneider’s Polaroid series ‘Oilfields’ – “connotes both the notion of the frontier and the adventurous mentality of the West, and a kind of horizontal understanding of landscape that is so quintessential about the West. While it circumscribes the West’s idiosyncratic historical and physical manifestations, it also stands for a concept that is slowly fading into the past as a new era emerges.”
Stefanie Schneider – Oilfields
Stefanie Schneider started working with Polaroid film in 1996 when she found cheap expired film and since that moment she never stopped creating pictorial photo narrative artworks with this vanishing medium. Fortunately she still has enough in stock to continue exploring the variable possibilities of chance and the stories it unfolds.
Sacha Goldberger’s series ‘Super Flemish’ – a collection of portraits of modern heroes and fantasized characters from our childhood captured with the 17th century Flemish painting techniques counterpointing light and shadow.
“What if Superman was born in the 16th century? And what if the Hulk was a Duke? How might Van Eyck have portrayed Snow White?
Fiction and fantasy meet history of art, and time meets an inexhaustible desire for mythology which is within each of us… Under the patina of time, these images allow us to discover an unexpected melancholy of those who are to be invincible”
Perhaps because after all they are undeniably human?
Sara Friedlander’s series ‘Bound and Determined’ – “by collaging several original photographic images into an imaginary vignette and then painting between and around the photographs, I could materialize a moment-in-time experience that draws the viewer into multiple realities at once. I call this time-lapsed photo-surrealism.
Sara Friedlander – Bound and Determined
By necessity, our brain filters out the barrage of images, patterns and designs which surround us. My goal as an artist is to bring into focus the beauty that the camera can record in a split second, despite our mind’s need to absorb and quickly decipher all this incoming information. Using paint I can connect several images into a single moment-in-time experience for the viewer.”
“The idea for ‘Pearls, tears of the sea’ came to me on the seashore at Camogli after a night during which the waves roared in and a wild storm raged. Next morning I went for a walk along the churned-up beach and was amazed. So much had been washed up on the beach, wood, seaweed, sea urchins, all kinds of flotsam. I took off the pearl I was wearing round my neck and laid it among all these mysterious treasures that had been revealed by the sea. It seemed as if it had always belonged there. Queen of the spume. The project was born.”
The series is published in a photography book with a CD of classical music performed and recorded in Vienna with her friends Jane Henschel, Christoph Prégardien, Herbert Lippert and others, and her husband, the orchestra director Fabio Luisi, at the piano.