Jessica Backhaus’s series ‘Once, Still and Forever’ – with form, light and color on an intuitive quest for traces of the phenomenon of time. These vibrant still lifes deal with the artist’s personal past and the present as a new start. They reflect her inner world and different feelings in lifetime experience. It’s not a chronology, nor a documentary project, but a contemplation of emotions and existence.
“A quiet melancholy that tells us that we cannot change the tides. In other words: that we should follow them instead.” Jean-Christophe Ammann
Jessica Backhaus – Once, still and forever
“My photographs are like a mosaic, a puzzle that evokes the beauty of ordinary moments often ignored as well as the residue of loves past and memories forgotten… I believe that everything takes time. That’s the beauty of it … Sometimes you have to go away in order to come back.”
Ramón Masats is indispensable figure of the Catalan and Spanish photography.
Born in Catalonia in 1931, he moved to Madrid in his 20s and began his career in the 50s documenting reality creating unique photographic reports shooting primarily in black and white. After working for different magazines, in 1965 Masats abandoned photography and devoted himself to cinema and making documentaries. In 1981 he returned to photography following to an offer for books from Lunwerg publishing house but this time dedicating himself almost exclusively to colour.
Ramón Masats has published numerous books and in this video he shares his life path experience and artistic thoughts.
Andrea Stone’s series ‘City Reflections’ – “imagery of colors, shapes and patterns, represents the way we place discordant pieces of our lives in proximity to each other, deconstruct the whole of an experience, embellish, elaborate and abstract the simple, plain and ordinary truth that is life.”
Andrea Stone – City Reflections
“We can try to look directly at the world and never truly see it. Reality, without intention, is inevitably distorted through the lens of our personal histories. It is like light on a window, deforming the objects it is reflecting. Although never fully objectively real, there are elements of reality most of us could agree on and that is why fragments of objects (a fluorescent light shining in a window, a car parked on a rooftop garage, or a rivet driven into steel) remain in these images as illustrations of how we see what’s in front of us.”
Christopher Thomas’s series ‘Passion’ – human emotions of pain and sorrow like paintings of the Old Masters, taken during the rehearsals for the 2010 production by amateur actors for the Oberammergau Passion Play.
Christopher Thomas – Passion
“It is not an overview, offers no explanation and makes no claim to completeness. My intentions was to convey the timeless impressions of the Passion that are taken from classical painting – an attempt to capture the enormous energy and emotion of the performance. It is not a collection of the most important characters and scenes but tries rather to show just how important is the dedication of everyone. The few people show here stand for the huge number of participants.”
Eric William Carroll’s on-going series ‘Blue Line of Woods’ – cameraless images of fleeting shadows of the forest floor captured on a massive scale to explore the enormous distances in space and time.
Eric William Carroll – Blue Line of Woods
“Equal parts Carlton Watkins and Anna Atkins, I am interested in visualizing a space over hours and days instead of fractions of a second. Usually installed in darkened rooms, one must spend time with the images before the details begin to reveal themselves. Each panel measures approximately three feet wide by six feet high, and are typically produced in pairs or groups of four.”
Watch this short video documenting the working process.
Baptiste Léonne’s painted photographs ‘Photo Diva’ – the uniqueness of a woman through an array of colours she naturally emanates and the secrets hidden behind the reflection of their grace as an admiration of a female beauty or a nostalgic search for a woman who no longer exists.
Jason Shulman’s series ‘Photographs of Films’ – an entire movie in a single image. “There are roughly 130,000 frames in a 90-minute film and every frame of each film is recorded in these photographs.”
In searching of a way how to span the time, the artist started experimenting with a very long exposure of moving images like news and sports events, when finally he pointed his camera to films playing for the whole duration. The choice of the movies was a pretty random selection – ‘La Dolce Vita’, ‘Taxi driver’, ‘The Great Beauty’, ‘Yellow Submarine’, ‘A Clockwork Orange’, ‘Alice in Wonderland’ to mention a few. To get 54 photographs he shoot about 900 movies.
Jason Shulman – Photographs of Films
“You can learn something about the director’s style from this kind of kooky translation: you can learn that Hitchcock deals with people, for example, Kubrick deals with composition, Bergman deals with … I mean lots of Bergman films are kind of moody and psychological, much more so than other films”
It turned out that the unpredictable results depend mainly on the director’s style. “Some of the photographs appear to have little in common with the films they represent or some films didn’t work so well.”
However, as Shulman stated, eventually it is the viewer who will interpret his ‘impressionistic’ works through his/her own story. “Just like reading shapes in a cloud, they see what they want to see.”
Joachim Froese’s series ‘Archive’ – still lifes of stacked in unstable towers books and china arranged in multiple panels as a ‘portrait’ of loss and a metaphor for memory constructed in our heads.
After the death of the artist’s German mother, her possessions were packed up randomly in boxes and sent to his home in Australia. When he unpacked them, because they were taken out of the context of his mother’s place, he couldn’t feel the same emotional connection. They looked “strangely unfamiliar and my relationship with them was ambiguous to say the least… The resulting photographs show objects that couldn’t stand up in reality. My ‘archive’ subsequently depicts imaginary scenarios presenting only an illusion of stability and rationality.”
Joachim Froese – Archive
“In contemporary society the idea of the archive plays an important role in the construction of knowledge and history, both public and private. We collect things to preserve a past that no longer exists. The medium of photography directly relates to this concept: the photograph deals with “what was” and thus plays a significant part in our perception of the past. It is one of the essential foundations on which we build elaborate mental structures to reassure our view of the world. As soon as we file the past in our personal archive of memories we select and construct – without realizing that many of the structures we are about to build are as unsound as the ones depicted in my work.”
‘Archive’ (2008) is the third and the last part of the project devoted to his mother, he made within two years to overcome the pain. The other two are ‘Portrait of my mother’ (2006) and ‘Written in the Past’ (2007).
Andrew Zuckerman’s series ‘Flower’ – a rich visual tour of mesmerizing nature’s timeless treasure comprising of radiant close-ups of more than 150 species, exotic and familiar. Set against his signature stark-white backdrop, the complexity of color, structure and texture in each specimen is lightened in detail revealing the subject’s essential qualities and giving a pure aesthetic pleasure to the viewer.
Andrew Zuckerman – Flower
“White for me has a sense of modernity and absence. From absence and white I can create something… It’s not about what I’m uniquely bringing to it, it’s more about what I’m bringing together and collecting in a consistent way.”
Driven by his obsessive taxonomical pursuits and removing all context, the artist created a sort of catalog with a contemporary, minimalist attitude to manifest the beauty and ephemerality of life.