Brendan Pattengale’s work ‘Color of Love’ – landscapes with otherworldly aesthetic, in a new, transformative way pushing boundaries of interpretation, representation and colour perception.
“I am still learning and processing in my study of colour. Colour is a symbol. These pictures are about colour, about emotion, about living, about breathing, about all the things we go through as human beings… The best way of seeing my work is by thinking that I am a painter.”
Kevin Best’s Still Lifes – contemporary photographic versions of the classic Dutch still life paintings using authentic antique props such as 300-year-old bronze candlesticks, antique silverware, German jugs or “Kraak” porcelain, to decode their complex symbolism and reinterpret them for the modern viewer.
“The Dutch were all about making their paintings look real. My work takes the reality of photography and makes it look like a painting so viewers get the same sense of awe… For centuries artists have used the still life to hone their creative and technical skills. Still life photography is challenging and intellectually stimulating”.
Abelardo Morell’s series ‘Flowers for Lisa’ – a delirium of floral still life with all sorts of influences—painting, music, design, fashion, philosophy, started as a birthday gift for his wife instead of a bouquet of actual flowers.
“However, something in the making of that first photograph gave me a newly found spark to experiment in ways I had not done before.
I chose the subject of flowers because they are lovely things – often exchanged between lovers – and they are part of the long tradition of still life in art. Precisely because flowers are such a conventional subject, I felt a strong desire to describe them in new, inventive ways.
Abelardo Morell – Flowers for Lisa
I love the way Jan Brueghel, Edouard Manet, Georgia O’Keefe, Giorgio Morandi, Irving Penn and Joan Mitchell, reworked the look of common flowers to show unexpected versions of them. The subject of the photographs in my work may be flowers, but they are also pictures about perspective, love, jealousy, hate, geometry, sex, life, the passage of time and death. I love how in choosing to limit myself to one discrete subject I was able to open doors into a world where I felt inventive, improvisational and fresh.”
Maxine Helfman’s series ‘Summertime’ – portraits and still lifes “to capture the beauty, emotion and mystery of summer in the South. Drawing my inspiration from literary descriptives, the images are timeless and familiar. Despite a hard life of physical labor and poverty, it is the strength, dignity and physical beauty that I want to portray in my work” (Lenscratch)
These quiet images with painterly quality invite the viewer to linger longer in contemplation and then the fragile and ephemeral butterfly as a symbol of rebirth transfer into another place and time offering hope, transformation and resurrection.
Alexandra Hedison’s ‘The in Between’ – a series of abstract compositions captured from Parisian windows of closed stores, making the viewer to penetrate through a multitude of reflections in the depths between reality and imagination, between painting and photography.
These ‘found paintings’ in pictorial dimensions embrace the breathing and the rhythm of a particular city and culture, but playing a mirror game they also invite to feel the cross that exists in multiple spaces at once and reveal how everything is in constant transition. A multiplication that opens the senses into a new state of perception asking the question, “What is this place, this now, this present moment and who we are in it?”
Thierry Cohen‘s series ‘Darkened Cities’ – uniting time and space to make visible a long forgotten contact of the humankind with cosmos in seeking for celestial guidance.
Replacing the light polluted skies over the world’s major cities with the starry skies over the Mojave, the Sahara, or the Atacama Desert, at the precise latitude and angle of the relevant cityscape, the artist creates a single new powerful image with huge emotional effect. These are not fantasy skies but the real ones as should be seen due to the world’s rotation about its axis. However, behind the visual poetry, these fictional city portraits focus on their darkness only with the reflections from the blazing stars above to sense the delicate feeling of inevitable extinction.
Tracey Moffatts’ ‘Body Remembers’ – a series of ten large-scale photographs with cinematic aesthetics exploring fictional narrative about loss, longing, identity and estrangement, based upon artist’s memories, family history and myth.
Tracey Moffatt – Body Remembers
Moffett herself, dressed in an old-fashioned maid’s uniform, is the sole protagonist in the scenes. Her face is intentionally unseen, highlighting the mystery behind the woman and the house, implying a connection between them at one time.The story, centered on a single character, is a kind of homage to her mother and grandmother who worked as domestics.
“The maid returns to the house where she once worked, a place of memory and of where she felt a sense of security and perhaps a lost love. We see the interior of the house as it once was and again as a ruin… My Aboriginal great-grandmother worked on a cattle property in outback Queensland she was a cook. Then my mother also worked as a domestic… My work is often based on fact or personal family history but it never stays there.”
Inspired by the poem “Body, Remember’ by the Greek poet Cavafy, it follows the idea the poem renders about the memory written into our body that becomes an inalienable part of us.
Terri Loewenthal’s series ‘Psychscape’ – in-camera collages of dreamlike landscapes as an invitation to immerse into this painterly environment to explore the psychology of perception.
We define ourselves based on our subjective experiences, and hence we have a natural incline towards the familiar. These colourful visions of sublime and utopian places do not exist, but through utilizing elements of actual landscapes, they look familiar and offer a comfortable first step into the unknown world of the psyche.
“Color is a secret backdoor to our soul. It tells us how to feel.”
Terri Loewenthal – Psychscape
To create each one of these alluring images as a mix of light and reflection, no post-production was applied, but a secret process using coloured filters and self-made optics in a single exposure.
Maarten van Schaik’s series ‘Anonymous Contacts’ – mysterious imaginations inspired by pictorial art taking the viewer to a distant intangible world of solitude but in a sense of a witness of a dream alike place enhanced by subtle magical colors and enigmatic subjects hidden by dark shadows.
Maarten van Schaik – Anonymous Contacts
“I am moving through the world, hoping for anonymity, hoping I am able to humble myself enough to see and record what the rest of us, preoccupied with our hectic everyday lives won’t see. As is the case in almost all of my work, I am not interested in pure registration or a factual approach of the things I am photographing. The objects and subjects which I photograph remain veiled. They are part of a world in which the distinction between dream and reality is not stable; Time has become diffuse.”