Celebrating the rich visual Indian culture, German photographer Karen Knorr tales myths and stories of northern India, blurring boundaries between reality and illusion.
Though the young photographer Reylia Slaby would be technically classified as Caucasian, she was born and raised in Japan. “While I had a lot to be thankful for growing up in Japan, being Caucasian made me a glorified visitor. My home was not fully my home because of how I looked.”
“The desert’s seductive threat is always there. It menaces from the edges. Look at the signature image of this book, a dusty room glimpsed out of focus through a glass door bearing the words ‘PRIVATE’ in reverse. A view of sultry enigma, a chamber beyond which the brightness of the sun is coming to devour everything and take the mystery with it.”
‘Stardust’ by David Campany (an essay written for Mona Kuhn’s book PRIVATE, to be published by Steidl in Spring 2014)
They and Theirs is a series of illustrative portraits that depict the subjects as imagined characters. Matched to particular objects they pose within a constructed environment. In a painterly fashion the portraits a styled according to a delicate pastel palette. Surreal elements and a sense of the bizarre blur the edge between fantasy and reality. Quirky aesthetic and subtle humour also come into play throughout the series.
The artistic duo Angel Albarrán and Anna Cabrera (both born 1969, in Spain) have spent a lot of time in Japan, and their travels to the country have strongly influenced the aesthetic content of their work and the printing techniques they use.
“The series ‘The Mouth of Krishna’ is the story of the infant Krishna, wrongly accused of eating a bit of dirt. His mother, Yashoda, coming up to him with a wagging finger scolds him: “You shouldn’t eat dirt, you naughty boy.” “But I haven’t,” says the unchallenged lord of all and everything, in spot disguised as a frightened human child. “Tut! Tut! Open your mouth,” orders Yashoda. Krishna does as he is told. He opens his mouth and Yashoda gasps. She sees in Krisna’s mouth the whole complete entire timeless universe, all the stars and planets of space and the distance between them, all the lands and seas of the earth and the life in them; she sees all the days of yesterday and all the days of tomorrow; she sees all ideas and all emotions, all pity and all hope, and the three strands of matter; not a pebble, candle, creature, village or galaxy is missing, including herself and every bit of dirt in its truthful place. “My Lord, you can close your mouth,” she says reverently.”
“I studied Chinese landscape painting and became obsessed with the idea of trying to understand their way of looking at nature. As I found most of the holy mountains they had been depicting for thousands of years were almost destroyed by pollution or otherwise turned into tourist spots, it became for me a search for a landscape that doesn’t really exist, an idealized picture”