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.
“I use color negatives, which I developed as black & white photos, thus the photos become more of an abstraction. After that I sew (sewing machine) the photos. The photography simulates a reality and documents the transience. The treatment is integrated into the scene. When the viewer is a distance the photo looks like “one” picture. But closer to the photo the viewer will clearly see manipulation. The treatment turns the landscape into a ‘real image of fiction’.”
Terri Weifenbach’s ‘Snake Eyes’ – walking us calmly among the gardens, roads and the valley near Lana, an idyllic town in Italy with beautiful, colourful, romantic, almost ethereal palette and composition.
“I think that photographers as a general rule edit from the world. They take what is in the image as the content. Painters have to construct and as a result the content isn’t always the imagery. You have experiences that take you far beyond what’s recorded in the image. I have stepped into a particular position by stating that beauty is more than simple entertainment. Beauty has depth. And that position is a mine field in photography. Snake Eyes is of a place that we have proposed as being beautiful and I’m offering this as a serious body of work.”
Terri Weifenbach – Snake Eyes
The series is included in a photo book of 500 copies, paired in an intriguing dialogue with her black and white husband’s work, John Gossage.
With a direct physical presence of energy drinks in the images, Stephen Gill’s focus in his series ‘Best Before End’ is on the danger upon our inner life due to the gradually growing addiction of energy drinks consumption.
Stephen Gill – Best Before End
“The colour negative films were part-processed and soaked in energy drink, which caused image shifts and disruptions and softened the film emulsion. This softening allowed for manual stretching, moving, tearing and distortion of the layers of film emulsion to take place, and further manual shifts were added with a soft brush while the emulsion was still pliable. All the drinks were sourced in East London, which is also where the images were made.”
Available as a 72-pages photo book published in 2014 by Nobody in association with Archive of Modern Conflict.