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’.”
“Arbor Essence is an organic vision of our identity, our roots. What we wear throughout our life journey and our family history. This and also a need to be closer to our connection to the Earth. The tree as a symbol of life, drawing its strength, its roots within this battered land .The tree resistant, fits, bark knotted, overgrown with brambles, open bites roots but vital force and porter of the memory location. Overprinting with the back spine of the human being and symbol of the house of the individual. Human stories are different, the readings also. Two things can not they do that? Fusion of a body – a woman, anonymous, back, faceless, identity, and the tree – nature, impetuous, rough, torn … And if instead of trying to turn us into beings physically perfect, we were leaving show what is our essence, our identity? Regardless of aesthetic research but just be who we are, of changing beings connected to the essence of the life and times of our human memory.”
Trine Søndergaard and Nicolai Howalt series ‘Tree Zone’ – ‘a photographic exploration of the barren Nordic landscape during winter and the ways in which human relate to it. Large, colourless images that tell a story of defiance, of surviving in spite of ruthless conditions, of being part of a world that you can not fully control or know.
Thematically and formally this work is a continuation of previous projects HOW TO HUNT, DYING BIRDS and HUNTING GROUND.’
Aokigahara forest is a beautiful forest of a size of 35 km square, located around 100 km from Tokyo, created some 1000 years ago, after an eruption of Mount Fuji. Locally, it is also known under the name of Jukai (“Sea of Trees”) because of its very high density of trees.
From the air it looks like a vast green serene ocean… but inside it keeps a lot of death tragedies.
Called “the perfect place to die,” the Aokigahara forest has the unfortunate distinction of the world’s 2nd most popular place to take one’s life (the 1st is for the Golden Gate Bridge).
Catching the beauty and the eerie nature of the forest, Polish photographer aims to make people stop and ponder over their lives, and hopefully rethink their decisions before committing a suicide.
Tomasz Lazar – Sea of Trees
It is stated that everything began in the 19th century when people started practicing there the so called “ubasute ritual” (an infirm or elderly relative was carried to a mountain, or some other remote, desolate place, and left there to die, either by dehydration, starvation, or exposure, as a form of euthanasia).
The suicide forest phenomenon however started in 1960`s with a romantic fiction story for an unfulfilled love. In the book “Tower of Waves” by Seichō Matsumoto, because the couple couldn’t be together, they decided to commit suicide inside this forest. The impact of this story resulted in around 30 people yearly committing suicide in the Aokigahara Forest, until 1988.
Gradually, not only an unfulfilled love but other dramatic personal stories became reasons to raise the number of suicides to 105 in 2003. In recent years, Japanese authorities discontinued publishing exact suicide numbers in order to avoid making the place even more popular.
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.
‘Yusurika’ means ‘buzzer midge’ – a tiny insect that looks like mosquito but is a non-biting. It tends to fly in large swarms and creates a mild buzzing sound, that how it got its name.
What inspiring might exist in this? Only if you have the vision of Japanese photographer Yoshinori Mizutani to see through his camera lens fairies instead. They radiate an almost palpable kinetic energy when reflected in the camera flash and transform the place into a sparkling, magical realm.
Yoshinori Mizutani – Yusurika
Having grown up in a small town surrounded by rich wildlife and nature Yoshinori Mizutani learned how to make conversations with the natural world. “Surrounded by mountains, with young leaves and flowers on the trees, fireflies around the creeks, red dragonflies flying over rice paddies…a silvery world when snow fell, a place with bountiful nature—that is where I grew up.” Even when he moved to Tokyo, nature continued to call him out to understand its feelings and expressions. “Perhaps, by facing nature, I was unconsciously catching sight of my original landscape from childhood… Or perhaps, it is only natural for us to seek nature.”