Robert Voit‘s series ‘The Alphabet of New Plants’ – a beautiful way of presenting man’s eternal desire to conquer the nature – either by borrowing forms through imitation or to substitute it in the 21st-century.
Robert Voit – The Alphabet of New Plants
Inspired by the great work of Karl Blossfeld from 1928 “Urformen der Kunst“, the series resembles at first glance a photo album of gorgeous plants photographed in a neutral background. On closer look though it reveals that actually they are artificial. Plastic plants produced for mass consumption for decorative purposes.
The photographs have not been retouched or artificially manipulated and are collected in a photo book published by Hatje Cantz
Laura Letinsky’s series ‘Time’s Assignation’ – a collection of black and white still lifes Polaroid made between 1997 and 2007 to question the danger of “the act of looking back”.
Inspired by the story of Lot’s wife being turned into a pillar of salt just because she looked back “is this a lack of trust or a punishment for nostalgia? Punishing a person who expressed fondness for what she’d had, as flawed as it might have been? … Here I am, a human. Really, is there any way to not look back? Even if not consciously, our past directs us in the here-and-now, and into the future. So why the imperative to not look back, even if it means being calcified, dissolved into the elements?”
Laura Letinsky – Time’s Assignation
“My book, Time’s Assignation, is an important set of images for me, and it’s been interesting to return to that work… When the photograph was an analog process, it used light sensitive salts, and I love this material connection between Lot’s wife and the photograph.”
Alex Timmermans’s ‘Storytelling’ – using the 19th century collodion wet plate process to create a series of narrative about magic, mystery and imagination, told with a subtle humour and unexpected ends.
Alex Timmermans – Storytelling
“I always have been fascinated by photography. But with the introduction of the digital camera it all became too easy, too predictable …to me. So I forced myself to go back to the roots of real analog photography. Not just by making the photograph itself, but by controlling the entire photographic process. It may sound strange, but the amount of work it takes to make just a single picture returned the joy of photography to me.”
The photographs are collected in a photo book and to learn more about the artist and his workflow, watch this video.
“Nebula” is a series of portraits about time. Time passed. Time elapsed. Time suspended. Time ahead or behind us… These portraits required long exposures which eased the sitters into detaching themselves from their immediate surrounds, as if suspended in time and in space. The individuals in these portraits are neither children, nor adolescents. I wanted their portraits to emerge from that state of limbo to evoke the transitional stage that they are going through. “Nebula”, Latin for mist, reflects on the turmoil of growing up with all its relational, sychological and emotional changes.
The series is made using the old photographic technique wet plate collodion because making wet plates goes beyond the photographic process itself. It is a sort of inner journey. A state of mind.”
Nebula in astronomy is a cloud of gas and dust in outer space, visible in the night sky either as an indistinct bright patch or as a dark silhouette against other luminous matter. They are a window into the life cycle of the universe and often called “stellar nurseries” – i.e. the place where stars are born. Even some are the remains of dead or dying stars, in the end, the same raw material that is left behind when star dies, form in turn new stars and the cycle begins again.
‘Exposure‘ by Kazuma Obara – abstract images telling the story of people who live with invisible health problems following the sudden release of atomic energy caused by the Chernobyl explosion (April 1986). Diseases, still doctors can’t explain and cure.
Kazuma Obara – Exposure
“The series is about the life of Mariya. She was born 5 months after the accident happened, in Kiev, which is located 100 km south of the Chernobyl Nuclear Power Plant. Since her early age she was constantly sick and spent many years in hospital without receiving a diagnosis. Growing up other symptoms appeared like severe fatigue, insomnia, panic attacks, her hair began to fall out … Following doctors’ advice she removed thyroid gland. Currently she has taken around 10 to 20 pills every day to maintain her hormone balance and will continue to take them until she will die. A harsh life for a 30 years old girl.”
Kazuma Obara – Exposure
“All pictures were taken by old Ukrainian colour negative films (expired day of films are 1991 and 1992) and exposed. While my film was only recently ‘exposed’ in the conventional sense, it seems to be receiving exposure to radiation from the nuclear accident for the past years. Just like Mariya, who had been exposed before birth, before visibility, and before volition, my use of this film, with its unruly and visually confusing character refuses the apparent instantaneity of the photographic image, instead calling the viewer to consider that our present lives bear the traces of a life-long and prenatal exposure to the world.”
To learn more about the artist’s thoughts behind the series watch this video.
The series is available as a self-published photo book.
Susan Burnstine’s ‘Absence of Being’ – exploring of the subconscious world. “Does something/somebody ceases to exist because they no longer have a physical presence?”
After the death of her father the artist questioned the limitations of our senses, beliefs and the collective (un)consciousness. “A plane disappears into the clouds. We can’t see it, hear it or touch it, but we know it’s there. Our senses can give us no tangible evidence it continues to exist. But still, we know beyond a shadow of a doubt it’s there.”
Susan Burnstine – Absence of Being
In the series, she portrays her dream-like visions from a higher perspective reflecting the vision of her father, looking down upon her. Retaining her signature dark and dramatic, blurred effect the images “capture fleeting memories, spotted from the corner of an eye that vanish the moment we turn to really look. And yet they remain, for the imprint remains with us. We are living in the present, but the past reminds us that it is part of us, too, as is the future, and we of them.”
Adolphe Braun (1812-77) was one of the most influential French photographers of the 19th century, best known for his floral still lifes, Parisian street scenes, and grand Alpine landscapes. He used contemporary innovations in photographic reproduction to market his photographs worldwide as well as to reproduce famous works of art to mass audience, which helped advance the field of art history.
Trained as a textile designer, Adolphe Braun began his photography career in 1853. He created a catalog of photographs of flowers for designers and art students providing them with a source of natural models. This herbarium earned him a medal at the 1855 Paris Exposition Universelle.
In 1866, he started photographing paintings, drawings, lithographs, engravings, sculpture and other works of part in the Louvre and other places in France as well as treasures in foremost museums and private collections in the Vatican, the Netherlands, Austria and Italy. Photography historian Naomi Rosenblum suggests that Braun’s detailed reproductions of works of art in European museums brought these works to art students in North America, providing a major catalyst for the field of art history in the United States.
Mårten Lange’s ‘Chicxulub’ – a story of a journey to a lost world as a part of the cycle of creation, evolution and destruction.
Mårten Lange – Chicxulub
Located at the Yucatán coast in Mexico, near a small fishing village called Chicxulub, the Earth was hit by an asteroid about 66 million years ago. The impact led to the extinction of the dinosaurs along with more than 75% of all species on the planet. The crater is half a mile underground now, so there are no obvious visual traces left of this dramatic event.
“I’ve been fascinated by dinosaurs and prehistory since I was a child. The Chicxulub impact event has become something mythic in my mind… But how can I make a story about something that is so far in the past, something invisible, beyond the reach of photographic observation? By creating photographs of flora, fauna and ruins that had something violent, apocalyptic, ancient or cataclysmic to unfold the themes of evolution, extinction and exploration.”
Cássio Campos Vasconcellos’s ‘A Picturesque Voyage Through Brazil’ – a series “inspired by paintings of European artists (Johann Moritz Rugendas, Jean-Baptiste Debret, Hercules Florence, Conde de Clarac, Aimé-Adrien Taunay, Carl von Martius and others) who came to Brazil in the early 19th century to paint and show the beauty and exuberance of Brazilian forests.”
Cássio Campos Vasconcellos – A Picturesque Voyage Through Brazil
Denis Brihat – capturing the simplicity of the eternity in vivid and luminous photography.
Denis Brihat – Nature
“While some photographers are related to the race of hunters, Denis Brihat belongs to the peaceful tribe of gatherers. A practical philosopher, at an early age he decided to cultivate his garden. A poet of the image, he celebrated the beauty of the world by creating a number of blazons in honor of the delectable manna it showers on us: flowers and fruit, vegetables, trees and a few less domesticated specimens of the plant kingdom, which seemed to him to epitomize all the riches whereby Nature liberally contributes to human happiness. This is because he looked upon the world from his garden or, when roaming the world, was guided by the reverie of a serene gardener.” Georges Monti
Denis Brihat – Nature
“When Brihat enlarges a slice of lemon to the size of a cathedral rose window, when he puts a single acacia seed or spike of lavender on a neutral background – a background of nothingness – he raises these tiny harbingers to the power of the cosmos, and infinity is certainly what he intends to possess, infinity withdrawn from the wear of time, an eternal infinity.” Michel Tournier