Mariana Cook’s series ‘Close at Hand’ – the powerful silent presence of every day through objects, forms, and light abstractions in black and white photographs made between the years 1999 and 2015. That period the artist needed some quiet and made a deal with herself to make at least one photograph a day of whatever moved her and printed it the same day.
“I’ve had bad insomnia most of my life, so I’ve learned to really appreciate the time between 3 am and 6 am. Over the past sixteen years I’ve spent the majority of my late nights and early mornings in Hotel Lobbies throughout Manhattan. Throughout those sleepless nights I was always taken by how that environment seemed to exist in a constant – no past, no present, no future state. When the guests retired I was left alone to experience the intimate nature of these places. This portfolio documents those long nights. All of the images were captured using 5″x7″ and 4″x5″ view cameras. I hand make the final prints as toned silver gelatin prints and platinum prints.”
Michael Massaia – No Past, No Present, No Future
The artist is the sole craftsman from the instant the negative is exposed to the moment the final print is made. To learn more about him, watch this short video.
Alicja Brodowicz’s series ‘Learning to Swim’ – “explores the mother and daughter relationship; it is about the physical and the emotional distance that increases as the child grows and gains independence. It is about the feeling of immense pride and also great pain. It is a story about “the challenges of feeling in between — youth and adulthood, the nest and the world, the comfortable water and the firm earth that we all must learn to walk on, someday.”
Toshio Enomoto’s series ‘Sakura’ – “It is my rule to use film in sakura photography. I’ve photographed sakura for nearly thirty years, at dawn or sunset, always in pursuit of that momentary tension between the darkness of the night sky and the bright flowers, but it’s a real challenge. The sakura show different faces every year, and sometimes I wonder how many more chances I’ll get to chase them. The coming of spring always makes me restless.”
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.”
Chris McCaw’s series ‘Sunburn’ – painted by the sun Zen landscapes in black and white, produced on paper negatives with handmade cameras.
Chris McCaw – Sunburn
“In this process the sun burns its path onto the light sensitive negative. After hours of exposure, the sky, as a result of the extremely intense light exposure, reacts in an effect called solarization- a natural reversal of tonality through over exposure. The resulting negative literally has a burnt hole in it with the landscape in complete reversal. The subject of the photograph (the sun) has transcended the idea that a photograph is simple a representation of reality, and has physically come through the lens and put its hand onto the final piece. This is a process of creation and destruction, all happening within the camera.”
Tom Hegen’s ‘The Botanical Series’ – aerial view of trees like dots and dashes of Morse code messages written by humans recording stories about our presence on earth and the relationship between man and nature.
“One third of Germany’s surface is covered with forests. Compared to other countries forests in Germany are growing. Most forests are made by man since they have an important commercial value. For successful reforestation tree nurseries contribute by cultivating young plants to then rehouse them in nature.”
Tom Hegen – The Botanical Series
The series is included in a photo book ‘HABITAT‘ which will be published around autumn 2018.
Patricia A. Bender’s series ‘Euclidean Pursuits’ – photograms of experiments with objects, lines, papers, shapes, light, shadow, texture in constructing a geometric abstract reality with infinite possibilities of conversations between art and emotion.
“For me, photography is nonverbal; words are for ideas, images are for emotions. I hope my images touch a positive emotional chord in the viewer, that viewers somehow connect their lives to my work in a meaningful and powerful way. I am not trying to educate or provoke intellectual rumination or represent reality or inform. I simply want to celebrate life, and the environments we live it in, and to move you”
Brittany Nelson’s ongoing project ‘Mordançage’ – experimenting with toxic chemicals, misusing old photographic alternative techniques and her own process called ‘analog Photoshop filter’ to create bizarre and beautiful abstractions with fascinating textures and patterns.
“Every tool is completely rooted in the history of photography, but I’m trying to cause a sort of implosion on the tradition… I’m taking these processes and removed them from the representational imagery to see if they have any integrity on their own as surface…The abstraction is the easiest thing and the hardest thing to create. It is easy to create abstractions but it is very hard to create effective or relevant ones.”
Brittany Nelson – Mordancage
Mordançage is 19th century film negative reversal process known as etch-bleach but when Jean-Pierre Sudre during the 1960s applied the technique to photographic paper instead of film, he coined the new name. Copper chloride, acetic acid and hydrogen peroxide are mixed together in a dangerous solution. Soaked in it, the silver gelatin paper oxidizes, giving it a degraded effect.
Learn more about Brittany Nelson’s working process at her Creative Capital Retreat’s talk .