Adam Jeppesen – ‘The Pond’

Adam Jeppesen’s series ‘The Pond’ – cyanotypes of floating hands on a textile in a study of ourselves and the things that are changing within society, within us as humans, the insecurity of what is inside the marshy waters and what happens if you go inside it.

Adam Jeppesen - The Pond

Adam Jeppesen – The Pond


“The use of a hand was to translate my thoughts on identity – self-identity and on a much broader scale as a collective identity as a human kind. The hand becomes such a symbol of that because there is a looking at ‘myself’ but without seeing ourselves in the mirror. By studying my hand I wanted to see how many different expressions one could have and the way they were photographed gives the feeling they were somehow separated from the rest of the body.” Immersed into the blue colour and drifting in imaginary swampy waters suggest the idea of desire for a new path in the human existence.


Angelo Musco – ‘Sanctuary’

Angelo Musco’s work ‘Sanctuary’ – a man-made colossal architecture inspired by the myth of the Tower of Babel as a metaphor of mankind’s separation but through the totally opposite vision – as a mystical kingdom, a holy place, built for connection to join people together physically and conceptually.

“The word sanctuary refers to a safe or sacred place or the concept of containment and keeping something in. For this image, each brick, arch, ramp and bridge is made up entirely by human nudes and then the buildings are populated by hundreds of people… The residents are protecting one another, reacting to what they see and reflecting their concerns and emotions back on the audience. “

Angelo Musco - Sanctuary

Angelo Musco – Sanctuary


These masses of nudes constructions were created by many volunteers intentionally recruited from multicultural groups in different cultures. Photo shoots were organized in New York City, Buenos Aires, London, Berlin and Naples, to gather the materials for this mammoth metropolis and integrate the story of each of them into the multiple layers of the piece.

“As I began creating my own kingdom of towers, I wanted a diverse group of models who spoke different languages and were from different cultures to come together and symbolically help me build a community of peace and harmony. Diversity seems to be under attack, especially now, so I wanted the walls to be for protection, not for separation.”

The work took over four years to complete, the artist’s longest production to date.

Watch this video about the full process and final result of the Sanctuary project.


Sabine Pigalle – ‘Timequakes’

Sabine Pigalle’s series ‘Timequakes’ – our cultural heritage and collective memory in a clash with the sedimentation of the time and the chaos of material destruction with temporal collisions.

Sabine Pigalle - Timequakes

Sabine Pigalle – Timequakes


The series is a reflection of the artist’s experience during the Japanese earthquake in March 2011, created with her distinctive style of reinterpretation the myths that navigates between reality and fiction.

In this series, the artist recomposed photographs she had taken by mixing human figures after timeless portraits of the 15th-16th century painters (Leonardo da Vinci, Hans Holbein, Jan van Eyck, Giovanni Bellini, Piero della Francesca) with luminous background of shaking Tokyo lights as contemporary landscapes. These hybrid images are as a bridge and juxtaposition between painting and photography, old and contemporary art, figuration and abstraction.


Karen Miranda-Rivadeneira – ‘In the Mouth of the Mountain Jaguar Everybody is a Dancing Hummingbird’

Karen Miranda-Rivadeneira’s project ‘In the Mouth of the Mountain Jaguar Everybody is a Dancing Hummingbird’- portraying communities in the Andean mountains of Ecuador and their way of conceiving the world and connection with the spirits of nature. These communities are different in their cultural diversity – traditions, customs, rituals, – but they all feel the same energy of the land they live called by their predecessors “the mouth of the mountain jaguar”. It is still a place where you can hear stories the Time tells through symbolic language or cane flute about the cosmic particles in our blood and the doors to the infinite worlds. The artist caught that vibration and carefully collect a few of those stories in multilayered images to reveal the life through the ancient wisdom.

“The spirit of the mountains reminded me not to take photographs, the instances I capture presented themselves, and my task is to ask permission to borrow them.”

In the Mouth of the Mountain Jaguar Everybody is a Dancing Hummingbird

In the Mouth of the Mountain Jaguar Everybody is a Dancing Hummingbird


Among the series there are six collaborative works with a local farmer and painter Julio Toaquiza. He embellished Miranda-Rivadeneira’s landscapes with painted in traditional pastoral style birds, golden owls, figures, alpacas, giving them a sense of mythical vitality and transformation.


Karen Miranda-Rivadeneira - In the Mouth of the Mountain Jaguar Everybody is a Dancing Hummingbird

Karen Miranda-Rivadeneira – In the Mouth of the Mountain Jaguar Everybody is a Dancing Hummingbird



Madame Yevonde – ‘The Goddesses’

Madame Yevonde’s most famous series ‘The Goddesses’ – sensuality and symbolism in the pictures of aristocratic ladies in 1935, transformed into beguiling mythical characters, still having a distinctly ‘modern’ feel.

Madame Yevonde - Goddesses

Madame Yevonde – Goddesses


The British photographer of portraits and still-life from the early 20th century, Madame Yevonde (1893 – 1975), was a pioneer of the colour photography using the complicated and costly but unusually sophisticated Vivex process.

The VIVEX process was a subtractive process, invented by the research chemist Dr. Douglas Arthur Spencer (1901 – 1979) and produced by the British company Colour Photography Ltd of Willesden. It employed three negative plates – cyan, magenta and yellow that were exposed and processed separately. After processing, the three negatives were printed on top of one another by hand to obtain the final print. This fact gave Madame Yevonde the freedom to experiment with different forms of colour manipulation, prior to the digital age.

The company was in business from 1928 until the start of World War II in 1939 when closed down during the war and never to re-open. Within these years Madame Yevonde worked closely with the inventor and the laboratory technicians to refine the process and extend its already highly sophisticated capabilities.

Watch this short video to learn more about the series and visit the site to read more about the Vivex process method used by Madame Yevonde.


Garry Fabian Miller – photograms

Garry Fabian Miller’s photograms – catching the beam of light to explore its possibilities as both medium and subject.

Using various camera-less methods and long exposures, the artist creates powerful imagery of abstract luminous works to record the cycle of time and experiment with the power to light.

Garry Fabian Miller - photograms

Garry Fabian Miller – photograms


“My interest in light and time is the accumulation of days… I suppose I am using the circle and the square as a place you can inhabit. I think I see the circle more as nature and the square more as thought… When two colours meet they create a third colour and also a kind of floating transitory space. And that kind of edge is a place of disappearing or merging.”


Garry Fabian Miller - photograms

Garry Fabian Miller – photograms


Garry Fabian Miller - photograms

Garry Fabian Miller – photograms



Miguel Ángel García – ‘In-dependencies’

Miguel Ángel García’s series ‘In-dependencias’ – large-scale panoramic photographs to question the concept of the Independence by highlighting the merging levels of ‘individualism, national identity, and the larger membership in a political union of many nations and cultures’.

Miguel Ángel García - In-dependencias

Miguel Ángel García – In-dependencias


The series, produced 2009-2012, comprises of images of the European Union capitals ‘bleach’ in white as unified landscapes with red marks of repeating infrastructural details like chimneys, satellites, skylights, etc., to oppose the basic concept of the house as a sphere of privacy in face of a common unified dynamic community.

Personal identity against national/union identity – illusions, conflicts or question of awareness?


Nicholas Hughes – ‘Aspects of Cosmological Indifference’

Nicholas Hughes’s series ‘Aspects of Cosmological Indifference’ – an investigation of the ephemeral patina of our existence and an observation of light and matter that offered a glimpse into the formation of the universe itself.

Nicholas Hughes - Aspects

Nicholas Hughes – Aspects


“Gazing at night skies and overwhelmed by millions of stars not unlike the specks of dust on my scanner bed I found fresh wonder and the obvious origin of the word we commonly use to refer to space.

Through study of the dissolution of matter, and in experiencing our insignificance I found reassurance. We are no more than fleeting passages of time, temporary layers that shift, change, combine, universally we swarm and are gone.

These are our moments…here and gone… Nothing lasts very long in the grand scheme of things, dust rises and light falls – the continuation of our existence remains inconsequential to the universe and our demise will signal the natural world as the likely benefactor. Despite having thoughts centred on the apocalyptical, there came visions of beauty and rebirth.”


Alexander James – ‘Vanitas’

Alexander James’s on-going series ‘Vanitas’ – a new vision of the 17th century Dutch Masters works about the theme of transiency.

Using the standard symbolic motifs of the concept Memento Mori like skulls, butterflies, food, flowers, animals, but through the subtle distortions of the light and the movement of water, the artist composes elegantly painterly images where his ‘vanitas’ float in the space fragile and almost alive. His interpretation emphasizes on the temporary nature of our existence but as a reflection of the life.  

“But then you put them in the water and … suddenly they look so tender – and really alive.”

Alexander James - Vanitas

Alexander James – Vanitas


Bill Henson – ‘Kindertotenlieder’

Bill Henson’s series ‘Kindertotenlieder’ – poignant meditation on longing, loss and sadness inspired by the works and personal tragedies of German poet Friedrich Rückert and Austrian composer Gustav Mahler.

Bill Henson - Kindertotenlieder

Bill Henson – Kindertotenlieder


‘Kindertotenlieder’ is a group of 428 poems written by Rückert (1788 – 1866) in 1833–34 in an outpouring of grief after the death of two of his children from scarlet fever. They were not intended for publication and appeared five years after the poet’s death. Their effect was particularly felt by celebrated composer Gustav Mahler (1860 – 1911) who read them and opted to set five of them to music, for a song cycle composed between 1901 and 1904. Having two young daughters, his wife Alma was against the idea fearing that Mahler was tempting fate. And indeed, three years later, in 1907, their eldest daughter Maria fell ill with scarlet fever and died during the summer holidays at the family’s house in Maiernigg in rural Austria. Devastated family closed up the home and never returned.

The series started in 1976 and 40 years later after multiple visits he made to Austria, it is finally completed and published as a photo book by STANLEY/BARKER in an edition of 150. along with a 12” record of the Mahler song cycle.