Nicolas Dhervillers’s series ‘Hommages’ – a combination of his monumental landscapes with characters from canvases of great painters from Nicolas Poussin and Gustave Courbet to Frank Cowper in paying tribute to their work and giving them a new spiritual existence into a modern surreal setting.
Nicolas Dhervillers – Hommages
”In grandiose compositions, Nicolas Dhervillers exalts the vision of a man immersed in the heart of lush. Its isolation in the sine qua non of its development. Tributes thus refers to the romantic myth of abandonment and the quest itself. Paradoxically, the extras seem to have a moment of idleness in this ideal landscape, yet they embody many souls in search of identity”.
Stefanie Schneider’s Polaroid series ‘Oilfields’ – “connotes both the notion of the frontier and the adventurous mentality of the West, and a kind of horizontal understanding of landscape that is so quintessential about the West. While it circumscribes the West’s idiosyncratic historical and physical manifestations, it also stands for a concept that is slowly fading into the past as a new era emerges.”
Stefanie Schneider – Oilfields
Stefanie Schneider started working with Polaroid film in 1996 when she found cheap expired film and since that moment she never stopped creating pictorial photo narrative artworks with this vanishing medium. Fortunately she still has enough in stock to continue exploring the variable possibilities of chance and the stories it unfolds.
Sacha Goldberger’s series ‘Super Flemish’ – a collection of portraits of modern heroes and fantasized characters from our childhood captured with the 17th century Flemish painting techniques counterpointing light and shadow.
“What if Superman was born in the 16th century? And what if the Hulk was a Duke? How might Van Eyck have portrayed Snow White?
Fiction and fantasy meet history of art, and time meets an inexhaustible desire for mythology which is within each of us… Under the patina of time, these images allow us to discover an unexpected melancholy of those who are to be invincible”
Perhaps because after all they are undeniably human?
Sara Friedlander’s series ‘Bound and Determined’ – “by collaging several original photographic images into an imaginary vignette and then painting between and around the photographs, I could materialize a moment-in-time experience that draws the viewer into multiple realities at once. I call this time-lapsed photo-surrealism.
Sara Friedlander – Bound and Determined
By necessity, our brain filters out the barrage of images, patterns and designs which surround us. My goal as an artist is to bring into focus the beauty that the camera can record in a split second, despite our mind’s need to absorb and quickly decipher all this incoming information. Using paint I can connect several images into a single moment-in-time experience for the viewer.”
“The idea for ‘Pearls, tears of the sea’ came to me on the seashore at Camogli after a night during which the waves roared in and a wild storm raged. Next morning I went for a walk along the churned-up beach and was amazed. So much had been washed up on the beach, wood, seaweed, sea urchins, all kinds of flotsam. I took off the pearl I was wearing round my neck and laid it among all these mysterious treasures that had been revealed by the sea. It seemed as if it had always belonged there. Queen of the spume. The project was born.”
The series is published in a photography book with a CD of classical music performed and recorded in Vienna with her friends Jane Henschel, Christoph Prégardien, Herbert Lippert and others, and her husband, the orchestra director Fabio Luisi, at the piano.
“The collection of The Land of Silence is an exclusive experience to spend a night in autumn with overhead clouds of unique character in Shahdad Desert. Experience during which these huge and solid rocks turn on and off in an unbelievable way. Once you look around in horizon you witness one rock standing Alight and the other in the Dark. Deep thoughts are of no use. Boundaries between Illusion and Scientific understanding have faded away.
Images of this collection appear as dream in reality and that I am not certain whether this has taken place. Whatever it is, It has surrounded my thoughts and SOUL far and miles Deep into my very Existence.”
Matthew Brandt’s series ‘Lakes and Reservoirs’ – calendar-like landscape photographs processed by soaking the C-type print over a period of time in water collected from the depicted lakes, in an experimentation of creating a photograph as an image and an art object, and searching for the connection between real and visualized.
Matthew Brandt – Lakes and Reservoirs
“I go get the photographs, get the water, I make the print and then it just sort of sits in water. It feels a little bit like being a farmer, like cultivating crops or something… I’ve always been into the labor-intensive nature of photography … But that’s why I like it. I like the pathos of it.”
Hendrik Kerstens’s life-time project of photographing his daughter ‘Paula’ as a reminiscent of the portraits from the Dutch Golden Age, in a way of expressing his paternal love and in a conceptual and humorous dialog between the daily life in the 17th and in 21st century.
Hendrik Kerstens – Paula
It’s all started in 1995 when Hendrik Kerstens, then at the age of forty, willing to devote himself to a more creative profession, left the business world and took up photography. His wife now had to support the family, whilst Kerstens stay home learning the craft and taking care for their child. For practicing to capture the fleeting moments of childhood, he started with documentary family snapshots, when suddenly he saw his muse from a different perspective.
“One day Paula came back from horseback riding. She took off her cap and I was struck by the image of her hair held together by a hair-net. It reminded me of the portraits by the Dutch masters and I portrayed her in that fashion. After that I started to do more portraits in which I refer to the paintings of that era. The thing that fascinates me in particular is the way a 17th century painting is seen as a surface which can be read as a description of everyday life as opposed to the paintings of the Italian renaissance, which usually tell a story. Northern European painting relies much more on craftsmanship and the perfect rendition of the subject. The use of light is instrumental in this.”
Olaf Otto Becker’s project ‘Reading the Landscape’ – juxtaposing the changes to landscape in the primary forests of Indonesia and Malaysia in three Habitat series – idyllic dreamlike places, ravaged, barren terrains and artificially created greenery. And all as a result of the paradox of the power and interests of the western world to destroy and preserve nature.
Olaf Otto Becker – Reading the Landscape – Habitat I
“Humans destroy primary forests, which have been growing for millions of years, within decades. Within the last thirty years almost ninety percent of the forests in Indonesia have been destroyed and replaced by monoculture. At the same time, humans create a version of nature according to their own imaginations in the megacities of the world, turning nature into a product… My pictures and videos are an attempt to report on what I’ve experienced, on what I’ve seen with my own eyes and what has, for that reason, deeply moved me… While researching the subject, it first seemed to me almost paradoxical that the so-called western world was behind both the destruction of the primary habitats and the attempts to protect them. I saw how both sides in the conflict were using impoverished and poorly-educated local populations for their own interests. For the most part, local people can only powerlessly watch as these dramatic changes take place.”
Olaf Otto Becker – Reading the Landscape – Habitat II
Catherine Nelson’s underwater project of 3 series – Origins (2014), Unstill Life (2015) and Submerged (2015) – a new magical world below the surface, created as interpretations of collected memories of her own experience about particular moments in nature.
Catherine Nelson – Submerged
While visiting a backyard pond in Ghent, Belgium, her attention was drawn to the secret universe beneath the water. “Every time I looked into it I saw something. There seemed to be so many compositional options.” And like a goddess she started carefully to construct her imaginary landscapes of aquatic botanicals intertwined like fantastic creatures turned upwards to the sky. These are hundreds of individual photographs digitally stitched in beautiful collages. “It’s kind of limitless. You can move things around until you’re happy. I find that really exciting.”