Wendi Schneider’s series ‘States of Grace’ – impressions with silken luminosity of the serenity and simplicity of a graceful, organic line and the stillness of a suspended moment.
“I capture the ephemeral movement of light on organic forms, to preserve that mystical moment that stills time for me. Photographing intuitively – what I feel, as much as what I see – and informed by a background in painting and art history, I portray a personal interpretation by layering the images digitally with color and texture, to find balance between the real and the imagined… White gold, silver or 24k gold leaf is applied behind the image. The leafing process suffuses the intrinsic value of the treasured subjects with the implied spirituality of the gold. The perception of luminosity varies as the viewer’s position and ambient light change.”
Risaku Suzuki’s series ‘Sakura’ – the ethereal beauty of the Japanese spirit, captured in out of focus blurred close-ups of cherry blossoms, like tenderly floating haiku about white pink clouds of evanescence melting into the blue celestial background of eternity.
“In “Sakura,” the blossoms of the intersecting branches appear melded together as one, making it difficult to distinguish the foreground from the background. My work is about the experience of time and vision. The beauty of the sakura lies in the brevity of their blossoming, so I must rush to photograph their brilliance and vitality… When I stand under a cherry tree and look up at the blossoms, I always feel as if I’m. The blossoms continue beyond my field of vision, each shimmering so beautifully. It is impossible to see them all.”
Christy Lee Rogers’ series ‘A quarter of a million miles’ – submerged in water bodies and fabrics captured in a dance of vivid colours and complexity like Baroque paintings of gods or mythical creatures “to inspire the idea that there are still mysterious, impossibly beautiful things on Earth—not solely in our imaginations.”
“What I want more than ever is to express and inspire hope and freedom, a sense of wonder and tranquility, to create a safe place to dream wildly.”
Christy Lee Rogers – A quarter of a million miles
Shooting in water and at night, the rules of gravity disappear, and the bodies’ distortion, the contrast of colours and the refracting light, deliver also a message of the fragile nature of humanity.
Maimouna Guerresi’s series ‘Giants’ – monumental unreal beings like ancient guardians of hope and secrets to communicate the universal spirituality and infinite divinity. Inspired by mystical Muslim symbols, these enigmatic figures with invisible towering bodies draped in robes and covered with scarfs are like temples of the soul and doors to unknown space.
Maimouna Guerresi – Giants
In the 1980s, Patrizia Guerresi was well known in Italy for the conceptual feminist work. At the age of 40, she converted from Catholic to Sufi Islam, and the new belief profoundly transformed her art and life, mastering her cultural past and present in a mystical new language.
Caleb Cain Marcus’s series ‘A Portrait of Ice’ – investigating glacial landscapes in a personal poetic journey in subtle blue, gray and cyan, as a part of our collective memory through million years history of the earth.
“When I am on a glacier there is a moment when the vast beauty enters me. And for that moment, the glacier is capable of shifting human consciousness and altering the reoccurring hum of reality. It is only you and the ice. A shard of something that has accidentally entered into this world. Then the ice screws’ melodic chime brings you out of one trance and into another.”
Caleb Cain Marcus – A Portrait of Ice
These photographs of glaciers of Patagonia, Iceland, Norway, New Zealand and Alaska, with painterly quality and no horizon, shift the perspective in a sense of losing the scale and raise awareness about environmental issues. ”Living in the city it easy to forget about the land; to forget that our history is held within the ice; that our history is melting. The Inuit elders say the melting of the ice is the land crying out in pain. Now we must listen.”
François Halard’s series ‘Casa Ghirri’ – photographs where the sense of the artist’s presence, the objects that had surrounded him and the place itself are the main protagonists in a play, weaving their roles and create one intimate portrait of the great Italian photographer and the spirit of his house.
The idea for creating such an album was born after an encounter with Luigi Ghirri’s wife, Paula, in 2011. An album not only as separate silent notes about the decoration but as a poetic nostalgic story, told masterfully by François Halard, reflecting with the same palette the life and the energy of the artist.
Anni Hanén’s series ‘Trace’ – cyanotype and digital collages of archival materials and staged photographs as layers of poetic forms to uncover different traces of memory and emotions in order to understand universal feelings.
Anni Hanén – Trace
“The process finds its beginning in daily life, by hearing, seeing, reading or experiencing the things that draw my attention… The archives range from old family albums to mobile snapshots. Although my starting points are notes from daily life, it is the power of the imagination that allows this work to touch upon universal experiences.”
Leila Jeffreys’ ‘Birds’ – fascinating large-scale close-up portraits of birds abstracted from their accustomed context to reveal their beauty, complexity and majesty, and to bring into focus the striking and diverse character of Australia’s native wildlife.
Leila Jeffreys – Birds
“I thought of them as people. You can’t get a good portrait unless the bird is comfortable, so you talk to them. They don’t speak the same language back, but they look at you intensely, they listen to you. If they’re not so sure, they move away, and if they’re kind of curious they get a bit closer. They might turn their back on you… I want people to form an emotional connection with the work and develop an interest in wildlife.”
Viviane Sassen’s series ‘Umbra’ – capturing the darkest part of the shadows in coloured images of shapes and patterns as a juxtaposition of different perspectives. Inspired by the Surrealism these works, on the verge of the abstract, emphasize the play of light and shadow as metaphors of the human psyche.
“I find it difficult to conform to the idea of definitive truths; there are always two sides to the coin so everything should be allowed to exist at the same time.”
Mandy Barker’s series ‘Penalty’ – football debris and the punishing term from the game in aesthetic images to illustrate the scale of plastic pollution and focus on the cost we all have to pay if we do not look after our oceans.
Faithful to her principals to raise awareness with her works about environmental problems of global concern, this project again “aims to highlight the harmful effect on marine life and ultimately ourselves”. In the occasion of the FIFA World Cup 2014, the artist chose the football as a single plastic object and global symbol that could reach and engage an international audience.
Mandy Barker – Penalty
“The project involved the collaboration with members of the public from around the world after a call via social media for people to collect and post footballs they found in the sea or on the shoreline. In total 992 marine debris balls were recovered from the world’s oceans in just 4 months. 769 footballs and pieces of, with 223 other types of balls were collected from 41 different countries and islands and from 144 different beaches, by 89 members of the public.”