Clarissa Bonet’s series ‘Stray Light’ – “Building facades melt into darkness, their architectural details vanish, leaving only glowing windows in a sea of pitch black, like stars in the night sky.”
Clarissa Bonet – Stray Light
“Stray Light is an ongoing photographic project aimed at imaging the nocturnal urban landscape. We have all but lost the night for our progress. In its place we have formed a new cosmos, one of vanished surfaces and flecks of light.
Carefully constructing each image from multiple photographs, I reform the urban landscape in my own vision – one that seeks to reconstruct the heavens in its absence above the cityscape. Light emanating from each window references a world unknown, evoking a sense of mystery and awe. We no longer look up to the night’s sky with awe. Instead, that is how we look out at the city.”
“My work arises from the observation of nature and the processes that determine how both living beings and the inorganic world are structured and built. There is fundamental law that can be seen in the veins of a leaf, the course of rivers and their tributaries, the circuits of the central nervous system, the currents of the sea and the routes of traffic on the Internet. Deciphering this common language, which connects the micro cosmos with the macro cosmos, the external and the interior world, allows us to distinguish a pattern that influences inert, biological, social and cultural systems. It affects us continuously, although we are barely conscious of its presence, and governs aspects as common as our movements through the city and others as personal as the symbols of our dreams. Its essence arises from the way things flow along the path of least resistance.”
Desirée Dolron’s series ‘Xteriors’ – serenity and sense of mystery inspired by Dutch Classical Master painters.
Though there is a secret story behind the project, written by the artist herself when she was a young girl, the main focus is not about the narrative rather than about timelessness. Mastering skillfully the light and with subtle digital manipulations these photographs appear as intangible portraits with painterly quality.
Cig Harvey’s ‘Gardening at Night’ – a personal collection that captures an experience of the world that is at once otherworldly and yet instantly familiar.
Cig Harvey – Gardening at night
“The narrative throughout has a delicious element of magical realism – the viewer is left with the feeling of waking within a dream. On the other hand there is familiarity in what she evokes – something primal and instinctual that points to each person’s connection to nature. Seasons figure prominently as metaphors for the cycle of life, and interplays between shadow and light underscore the work.“
The series is included in a photo book, where the artist’s photographs are interwoven with her intimate poetry.
Giorgia Valli‘s series ‘Aves Mei‘ – expression of repressed feelings of freedom such as the ones birds experience in their cages.
“This project is a representation of how reality can set limits to imagination, which is in turn something limitless. Each photograph was taken in a section of the Bronx Zoo in NYC called ‘The World of Birds’. Every photo represent a bird’s cage. The idea was then to associate these cages to the different places I used to live around the world, since I was born until today. All these places have been to me sometimes like nests and sometimes like cages. There my ideas ‘grew up’ and my thoughts have been more free or less free, depending on the different characteristics of those places. By adapting myself to those different environments, my creativity struggled with reality to develop.”
John Dugdale’s cyanotypes – still life, portraits, nudes, landscapes – poignant and emotionally charged tools for remembering hopes, fears, and dreams with refined Pictorial sensibility.
In 1994 a stroke, after AIDS-related complications, left the young photographer (b. 1960) nearly blind, and over the years since, he lost the remainder of his vision. Life forced him to see and photograph in a new and more personal way.
“The quietude that people respond to in my pictures is, in part, because of the way the pictures are made: no flash; no harsh electric light; not even the sound of the shutter—just a lens cap removed, and then gently replaced. This encounter provides, for me, a metaphor for looking.”
John Dugdale – Dickinson
A series of Dugdale’s recent photos is inspired by the works of great 19th century American writers and thinkers as Walt Whitman, Ralph Waldo Emerson, Henry David Thoreau and Emily Dickinson. Dickinson’s poetry, in particular, helped him use his imagination to compensate for his lack of sight. “Emily Dickinson flew over her house and observed her life from above before there were airplanes, I totally identified with that when I was paralyzed. It was very easy to leave my body.”
“Being blind is not what you think. It’s not all darkness. My optic nerve still works and shoots a beautiful ball of brightly colored orange and purple and violet light and sparkling flashes all the time.”
Dugdale’s theme is one of survival and the triumph of the creative spirit; his vision is of gracious beauty, emotionally rich and sensual.
“I do photographs to record moments of wonder, excitement, interesting people… I want to catch time. It’s an obsession with catching time as it passes.”
Jacques Henri Lartigue (1894 – 1986) is one of the great photographers of the 20th century. Though started as early as six years of age, he gained his fame in this field at the age of 69 after a solo exhibition at the Museum of Modern Art, New York. He rapidly became one of the most famous photographers but still is mostly best known for his black and white works.
However, Jacques Lartigue shoot also in colour. Actually among the legacy of 117,000 photographs, he donated to the French nation, almost one third are in colour. His color photography could be separated in 2 different periods. The first was his use of Autochrome from 1911-1926 which satisfied his painterly interests, but the process couldn’t allow him to capture a sense of movement, “something marvellous that happens in a split-second”. With the technical progress in the mid 1950’s he was finally able to seize in colour snapshots the moments of enthusiasm, delight and joy he was chasing his whole life and created an astonishing body of works.
Rafael M. Milani’s series ‘Eden’ is an exciting walk through the mysterious moments of the world creation where the eerie darkness has just met the soft warm light.
“It was like traveling back to the earliest beginnings of the world, when vegetation rioted on the earth and the big trees were kings. An empty stream, a great silence, an impenetrable forest. The air was warm, thick, heavy, sluggish. There was no joy in the brilliance of sunshine.“ – Joseph Conrad
“The weird wood noises where the only sounds, strange, unutterable mutterings, dismal, inarticulate.” – Arthur Machen
Rafael M. Milani – Eden
“As a photographer, I am much more interested in the creation of mood and atmosphere than in the communication of facts or thoughts. I am usually attracted to artists whose work has a feeling of strangeness, mystery and awe, and that is what I try to convey with my images”
‘Taste of leaving’ was inspired by the feeling of hopelessness, but in the same way doubt and depression has been replaced by amazing energy and hope for a better future. It’s important to realize that sometimes we have to face the end of certain things in order to be able to step forward.”
Natalia Evelyn Bencicova – Taste of Leaving
The project was set in Cvernovka, a former sewing factory in Bratislava, which during the artist’s childhood had become a space for collective creativity and individual transformation. However a few years ago, it was also a subject to closure and feeling deeply connected with the place, the photographer started looking for an answer to ‘what is the taste of leaving?’
“People are the reason behind the existence of a place like this, the reason for its present magic and atmosphere. That’s why I decided to stage these people inside rooms covered in plastic as the single vivid object while everything else vanished into blurred memory. Things can be replace physically but the internal void remains.”
“Our idea of landscapes is not landscape by itself. Nothing exists by itself but only through perception. Our perception, however, is subject to both individual watching and classifying what we see. Pictures of natures are not about falsifying nature itself but are reflecting our perception of nature… What kind of image do we have? On social media channels users are sharing zillions of filtered photos of nature – or what they think nature must look like…We need a new way of looking at nature in the 21st century, just like the landscape painters of the 19th century who were confronted with industrialization.”