‘Abstract Aerial Art’ by two UK brothers, JP and Mike Andrews – bizarre photographs of rarely seen places and structures captured with a drone offering a new perspective of our beautiful planet.
“The point is not to work out what it is, but to show how weird and wonderful the world can look from above… We find it fascinating how an aerial view completely changes the way we see something from ground level”
JP and Mike Andrews – Abstract Aerial Art
“The story began back in October 2016 with a discussion in a pub about investing in a drone. Two weeks later and with no planning whatsoever, we brought a one way ticket to Australia. Arriving in Sydney and finding ourselves a second hand vehicle, we set off into the Australian outback with no survival skills at all, to film and photograph remote Australia. Not long into our trip, we came to realise we had a vast number of extremely unusual images which we had no idea what to do with, yet wanted to share with the world. As a result, Abstract Aerial Art was born.”
Petros Koublis’s series ‘Selene’ – The moment of transcendent silence when our world passes the limits and becomes one with the infinite Universe, an illumination of our common memory.
“Our world is celestial, sharing the same origin with the space that embraces our skies. Mountains and seas, the most familiar objects of our immediate experience still carry within them the magic of distant worlds. For this is one, inseparable landscape… The mind merges with the vastness of the Universe and for a moment there is no space or time, only the wonder of existence.”
Bernhard Quade’s series ‘Stone’– impressive landscapes focusing on one of the essential elements of the Nature and its powerful influence upon human beings as a part of the process of majestic creation.
Bernhard Quade – Stone
“All my life I have been interested in ways that nature changes people…. And how people change nature, and how it all changes people further… I want the observer to let himself concentrate more on the objects which influence our surroundings, our lives, our thoughts and desires… And in turn be influenced by them. In my work I want to show opposite desires – A Silence – A Standstill – But also the movement and Tension which we find all around us. This is the Power of Nature which changes our lives.”
“The moon within these images links our understanding of time in terms of a monthly calendar with a celestial realm where time is measured in light years. Long exposures of stars used in some of the images further explore time. The exposures combine an understanding of time embedded within photography— a four-hour exposure of a star renders on film as a line of light so many inches long—with the fact that the starlight hitting the film is light years old. These images are an attempt to record a realm we can hardly fathom, but within a framework of time we can readily understand, bringing the human scale into relationship with the cosmic”.
Nathalie Daoust’s series ‘Frozen in Time’ – hand coloured B&W pinhole blurred photographs from the picturesque Alps as visual ‘portraits’ of fantasy and desire to escape from the feelings of discomfort. Embraced by a ghostly magic the subjects are frozen in the labyrinth of time where dream and reality crash.
“These images have become self-reflections. They speak more of who I am than I can find with my own words. These can also be reflections in a more general way representing the shy ones, the introverts. We are present in our own way. Not always so visible but taking part in our own quite way.”
“I began this ongoing series of my daughter fifteen years ago. These particular images work as narratives. Alone, or in combination, they have a story to tell. As metaphorical portraits, they suggest the essence of a person, rather than offer any literal interpretation. I like to think of these as visual vignettes that suggest half-remembered, fragmented dream worlds. They borrow from the past, my ever-changing and skewed memories of that past, and fleeting moments in time.”
Diana H. Bloomfield – Figurative
“The images are printed in historic processes (e.g., gum bichromate; platinum/palladium; cyanotype, and sometimes a cross combination of those processes). The layers are hand-applied (brushed) on watercolor paper, exposed to UV light, and developed“.
Read in details about the process on Diana H. Bloomfield’s page ‘How it Works’
Luis Gonzalez Palma‘s series ‘Möbius’ – through portraits of indigenous Guatemalans establishing a relationship “between the emotional, figurative portraiture and the abstracted, geometric imagery. These two systems represent our craving to understand the mystery of life from different perspectives.”
Luis González Palma – Möbius
“From the beginning, my work has been a reflection on the look. How do we construct our internal experience of a couple of eyes fixedly staring at us? How are the shadows, brilliance and all implicit geography within each photograph interpreted and elaborated inside of us? If the way we look is concocted from the social and cultural, we may conclude that all looks are political and all artistic production is subject to this kind of judgment. The glance as power. From this point of view, I feel that the work of art is a possibility of evidencing this, of questioning the way in which we look, of interrogating the history that has produced these “glance grades” and, therefore, the ways in which we react to the world. In my artistic process I have tried to create images that invite the observer to examine by means of what I call “emotional contemplation”; assigning, through the beauty in them, the meaning of their shape. I have constructed scenarios and I have modified certain countenances through the years in order to create images that would permit other perceptions of the world, other ways of understanding and modifying it internally.”
Carol Inez Charney’s series ‘After Painting‘ – reinterpreting the work of classic iconic paintings, refracted by water to reassemble a new point of view about these paintings through photography.
“For me the water is the veil that allows the past and the present to collide. Initially I was working with the camera’s ability to selectively focus, though this has now led me to working with the idea of taking details out of context from the whole and then reassembling them to create a new visual conversation about a particular painting.”
The paintings the artist was inspired are works by Leonardo, Van Eyck, Van Gogh, Monet, Matisse, Chagall and Picasso.
Carol Inez Charney – After Painting
“The ‘After’ designation refers to the art-historian’s way of labeling copies of old artworks made by admiring younger artists, a common practice before the advent of photography, and a way of paying homage to and learning from the past: Van Gogh copied Rubens, and Rubens copied Leonardo, and so on.” (An essay by Dewitt Cheng)
“A country named after a desert. One of the least densely populated places on earth. Defined by its rich variety of colors—yet in a forever changing, yet completely barren landscape. Namibia’s landscape draws you in, through a vast brown plain of scorched earth, and steers you over the white surface of a salt pan to finally arrive in the gold tones of the sand dunes. Patience is required to discover the wide range of Namibia’s subtle scenery.
It literally takes you hours, driving though nothing, to at long last arrive at…more of nothing. The sight of other people is rare and only the strategically located gas stations are a reminder of the world beyond. This country is in another time zone—time seems to move slower but it feels more logical, somehow. Captivated by these washed out yet delicately colored landscapes, you can drive for hours. Chaperoned by herds of giraffes or zebras, shadowed by flocks of flamingos, suddenly stumbling upon a family of elephants. The animals look up curiously, but soon forget about you and slowly continue their journey, unhurried by your presence, at their own pace.”