Alexander Mourant’s series ‘Aomori’ – exploring the philosophy of the Japanese forest in psychological state of the intangible blue, inspired by Rebecca Solnit’s, Hokusai’s and Yves Klein’s admiration of this transcendent colour. “For an artist, an intimate investigation of one individual subject can lead to limitless fields on intertwining narratives and unseen connections. There is so much in the colour blue.”
With a blue glass from a church window, cut to size to fit the filter holder of his camera, the artist exposed his film directly to the blue world. “Glass, which is normally a material of separation, is employed directly in my process to unite both medium and idea.”
Alexander Mourant – Aomori
“Aomori, meaning ‘blue forest’ in Japanese, is a synthesis of two existential ideas – the forest and the nature of blue. Together they create a place of high intensity, a place which questions our relationship to time, colour and self. Through these coalescing notions, it is my intent that these photographs can reach a far higher level of engagement than conventional photographs.”
Barbara Cole’s series ‘Meditations’ – underwater romantic painterly abstractions in testing the nature of photography and its impact on our experience of reality.
Barbara Cole – Meditations
“Water allows me to move the human figure in unconventional ways. Photography affords me the ability to play with notions of time and place. By seeing through water, rather than through air, I am able to re-envision the nature of our relationship to our surroundings. Working in the water also provides an ideal space to continue to explore figurative. It also allows me to refocus attention on this natural resource that we have in abundance and is often taken for granted…The indistinctness of the human figure, the irregularity of the frame in which it appears and the ephemeral atmosphere all echo, for me, the fleeting impression of life reflected in water.”
Ellen Jantzen’s series ‘Unity of Time and Place’ – “How is reality experienced? How is it revealed? … Some say, all time exists at once; the indefinite continued progress of existence and events in the past, present, and future are regarded as a whole… I find reality difficult to define and a challenge to depict. I am drawn to this challenge by striving to make visual that which may not have a visual component. I am always interested in looking beyond the surface in the hopes of revealing something deeper and unexpected.”
Ellen Jantzen – Unity of Time and Place
“After spending the last several years immersed in the past I am ready to embrace the future. But as I set out, the past is with me, transformed. All the losses are still there but there is a brightness forming that allows me to see the entirety, the unity of time and place.”
Ryan Zoghlin’s series ‘Aerotones’ – capturing the lines and shapes left by the planes’ trails as creating a beautiful graphic aerial sculptures at an airshow. These abstract temporal figures seems simple in a contradiction to the complex mechanics of the machine.
The series “Aerotones” is produced on glass and backed with 23.5 karat gold powder. These images are considered examples of modern orotones by the Research on the Conservation of Photographs Project at the Getty Conservation Institute.
Ken Rosenthal’s series ‘The Forest’ – dark landscapes as metaphor for an internal physical and psychological state.
Ken Rosenthal – The Forest
“The Forest is probably the most complicated and personal series I’ve undertaken. I photographed for this series from 2011 through 2016. All of the imagery has been photographed in the Selkirk Mountains, in NE Washington State… As beautiful a place as it is, however, there is a very palpable sense of mystery and darkness…Fallen trees and jagged branches litter the forest floor. Majestic pines give way to a more gnarled mass of decayed and fallen trees, dense thickets of overgrowth, and clusters of anthropomorphic trees… The images are interwoven with thoughts on mortality, discovery, loss and renewal.”
Riitta Päiväläinen’s series ‘River Notes’ – sculptures of fabric wrapped around branches in the forest, and arranged in abstract shapes, and their constantly changing water reflections as a mirage to our dreams, memories and subconscious.
“Wading in the rivers, streams, and flooded areas gives me a totally new perspective of seeing. I am in the world of beavers, fishes, and other water animals. I observe the nature from an angle and perspective that most of the people never do.”
Jorma Puranen’s series ‘Shadows and Reflections’ – readdressing historical portraits adding new layer to the dialogue between the viewer and the object through using the glare of light from their shiny surface.
“For me the thing is about trying to create some kind of living context to reconsider the lives of these people once being portrayed… Light is something that makes the world visible and photography possible… Photography’s capacity to register reflections is actually its singular gift. What other medium deals so expressively with the play of light and shadow?”
Jorma Puranen – Shadows and Reflections
“If you think of those paintings from the early 17th century, there was no electricity and they were in somebody’s living room, where very often was dark. So, you have to learn to look at the paintings when it’s dim, and when it’s almost no light at all. And they speak, and in another way, differently to you, in darkness. That’s when the paintings and these people become really live and present, and they start to move and talk to you over the centuries.”
Gerco De Ruijter’s project ‘Cropped’ – hypnotic abstract landscapes formatted like geometric template into a stop-motion animation as watching a vinyl record playing by appropriating over 1,000 existing images of spherical irrigation plots in the American southwest from Google Earth.
Gerco De Ruijter – Cropped
“I had seen images of circular irrigation fields and was immediately drawn to them by their minimal, yet, hard edged abstraction”. Over the years, the artist tried to photograph them with different cameras, only to discover that due to their large scale they could be seen only from space.
“These formal images, with their rigid framing and unusual viewpoint, raise questions with regards to scale and dimension, as well as doubt: what am I looking at? What is similar in my work and that of abstract geometrical painters is foremost that we do not dish up a story or a deeper meaning. The viewer sees nothing but the image itself.”
Miguel Vallinas’ on-going series ‘Ceci n’est pas’ (‘This is not’) – surrealistic photo montages exploring the concept of identity and individual choices diverse as the thoughts, dreams and desires about ourselves.
“This is not” invites us to think about “what is”, “what we believe to be”, “what the others think that we are”, “what we want to be” and “what we really are”.
Miguel Vallinas – Ceci n’est pas
The title is inspired by a work of the Belgian artist Rene Magritte, though here the focus is not to challenge observers’ preconditioned perceptions that everything is implicit as a result of our preconceived ideas, but to urge them to find answers on identity and acceptance
Matthieu Gafsou’s series ‘Ether’ – from Earth perspective capturing the human presence in the sky in an elegant dance of light as a part of a project questioning the philosophical consequences of man’s colonization and the limits of science.
Matthieu Gafsou – Ether
“It makes civilization photographically visible in the sky and show how we have colonized what’s above us. The resulting fine lines and delicate shapes seem to underlie unitary principles and appear as a higher-order structure that is reminiscent of the shape of nature.
The captured and seemingly structured phenomena reminiscent of chemical compounds, scientific classification systems, physical laws – the poetic structure of the world.”