“Like many other places I’ve visited in the U.S., the Bayou country is very unique. Its distinctive natural environment reminds me of the undeveloped forest. A quiet and breathtaking scenery reflected on an extremely slow-moving stream deadens the sense of time. As I wandered around and delved further into the landscape, I realized that I was in complete awe of the beauty within the nature. I photographed the scenes as if I were praying for its everlasting existence.”
WOW! While this might be the first thought of a viewer, actually this is also the abbreviation of the majestic hypercollages of Canadian born and Texas based photographer Ysabel LeMay. It stands for ‘Wonderful Other Worlds’. She creates lavish panoramas of natural splendor through the process of composing a constellation of individual photographs and then digitally woven them together in Photoshop. The created patchwork transforms the static fragments into vibrantly flowing images where the viewer has the impression that finally has found paradise.
Cy Twombly’s ethereal Polaroid photographs are visual lyrical poems revealing moments of transition when the world becomes alive. They are romantic meditations “built up from something within rather than extracted from something without” (William Katz).
The series Tulips II was captured in 1985 in Italy in a set of six close-ups. The tulips are composed from various angles, isolated in a painterly way but all embraced by light and in soft focus to feel the subtle vibrations of energy and evanescent emotions.
Cy Twombly – Tulips II
For a quick inspirational tour, see this short video about ‘CY TWOMBLY: Photographs’ exhibition held April 27–June 9, 2012 by Gagosian Gallery Beverly Hills
Capturing the ‘drawings’ of nature and connecting them lyrically with her own fine, ethereal drawings on translucent vellum, Sandi Haber Fifield in her series of multiple images ‘Lineations’ tells stories of the tenuous beauty and fragility of the natural world, and yet filled with imagination, longing and hope.
Sandi Haber Fifield – Lineations
“My work is born of collisions and alignments. I gather images from experiences exceptional and mundane, intentional and spontaneous… Through the process of combining disparate moments of vision, formal connections reveal themselves and suggest the reassuring possibility of meaning and order in the apparent randomness of experience.”
Gohar Dashti’s small instant film pieces from her series ‘Alien‘ – “the world is an alien landscape in which we are at home, or a home in which we find ourselves alien.” (by Eva H.D.)
Gohar Dashti – Alien
” I cannot say if the wall – that external wall, about which the apocalyptics like to talk – will ever overcome people. The wall, which I am thinking of, is actually a mental state, which suddenly becomes visible to the outside. Does not everyone carry a wall, consisting of prejudice, before themselves? A terrible catastrophe will descend upon progress striven humanity, which only the plants, a few animals, and the woman, who has cloistered herself from the external world, will survive. ”
George Selley‘s series ‘Vault7‘ – a concept of exploring a city photographically through a top secret CIA document
“On Tuesday 07 March 2017 Wikileaks released ‘Vault 7’, the largest ever publication of confidential documents about the CIA. This project specifically follows a “familiarisation” document that instructs covert agents arriving in Frankfurt.
I decided to travel to Frankfurt and follow the guidelines, as if I was a covert agent myself. Through my photographs, I aim not only to present and play on this banal absurdity, but also to challenge our conceptions of how such an organisation is run and to question its integrity.”
Ingar Krauss’s series ‘Nature Morte’ is an ongoing project started in 2010 of still life ‘portraits’ of vegetables, fruits, grains, flowers and animals.
“I am interested in the hidden relationship between the inner life of human beings and the world of plants and animals and I want to transmute those commonplace subjects by a process of replacing inattention with contemplation.”
Krauss prints in black and white and subsequently paints every photo with a transparent oil paint by attributing to the images a nostalgic vein in the romantic tradition (the paint, very diluted, does not cover the image but colors it subtly).
“Why did I choose this subject? Because both my grandfather and my mother are of the nobility. I am not. Because of the fact that this subject does not seem to play a role in my life. Because I realized that I do not know much about nobility. Because I am curious about what nobility actually entails. What does it mean nowadays?”
In 1994 the Dutch government has abolished the right to become a part of the nobility. Except for the Royal family nobody can obtain a title. In the Netherlands about 300 families are of noble descent and these families theoretically can become extinct.
Emilie Huding – ‘No’ Title
“In this project I was dealing with a group of people who would rather not be photographed. If you are from the nobility you keep it to yourself. You don’t make it public to everyone. How can I make portraits of a group of people who would rather not participate? I decided to work with a Polaroid SX70. A charming, old fashioned camera which instantly produces photographs. No reason for mistrust, because the person who was photographed could, on the spot, see the picture. No big camera in between myself and my subject. Proximity, but the quality of the photographs is picturesque and detached. The distance which is appreciated so greatly by this group of people.”
Douglas Mandry’s series ‘Five minutes to the sun’ – 12 cyanotypes of tropical dreams as a tribute to Anna Atkins ’first botanical documentation “Cyanotypes of British and Foreign Flowering Plants and Ferns”
The original negatives of vegetation in Southeastern Asia were developed in Switzerland through the five minimal minutes allowed by a suntan cabin.