Ken Rosenthal’s series ‘The Forest’ – dark landscapes as metaphor for an internal physical and psychological state.
Ken Rosenthal – The Forest
“The Forest is probably the most complicated and personal series I’ve undertaken. I photographed for this series from 2011 through 2016. All of the imagery has been photographed in the Selkirk Mountains, in NE Washington State… As beautiful a place as it is, however, there is a very palpable sense of mystery and darkness…Fallen trees and jagged branches litter the forest floor. Majestic pines give way to a more gnarled mass of decayed and fallen trees, dense thickets of overgrowth, and clusters of anthropomorphic trees… The images are interwoven with thoughts on mortality, discovery, loss and renewal.”
Riitta Päiväläinen’s series ‘River Notes’ – sculptures of fabric wrapped around branches in the forest, and arranged in abstract shapes, and their constantly changing water reflections as a mirage to our dreams, memories and subconscious.
“Wading in the rivers, streams, and flooded areas gives me a totally new perspective of seeing. I am in the world of beavers, fishes, and other water animals. I observe the nature from an angle and perspective that most of the people never do.”
Jorma Puranen’s series ‘Shadows and Reflections’ – readdressing historical portraits adding new layer to the dialogue between the viewer and the object through using the glare of light from their shiny surface.
“For me the thing is about trying to create some kind of living context to reconsider the lives of these people once being portrayed… Light is something that makes the world visible and photography possible… Photography’s capacity to register reflections is actually its singular gift. What other medium deals so expressively with the play of light and shadow?”
Jorma Puranen – Shadows and Reflections
“If you think of those paintings from the early 17th century, there was no electricity and they were in somebody’s living room, where very often was dark. So, you have to learn to look at the paintings when it’s dim, and when it’s almost no light at all. And they speak, and in another way, differently to you, in darkness. That’s when the paintings and these people become really live and present, and they start to move and talk to you over the centuries.”
Gerco De Ruijter’s project ‘Cropped’ – hypnotic abstract landscapes formatted like geometric template into a stop-motion animation as watching a vinyl record playing by appropriating over 1,000 existing images of spherical irrigation plots in the American southwest from Google Earth.
Gerco De Ruijter – Cropped
“I had seen images of circular irrigation fields and was immediately drawn to them by their minimal, yet, hard edged abstraction”. Over the years, the artist tried to photograph them with different cameras, only to discover that due to their large scale they could be seen only from space.
“These formal images, with their rigid framing and unusual viewpoint, raise questions with regards to scale and dimension, as well as doubt: what am I looking at? What is similar in my work and that of abstract geometrical painters is foremost that we do not dish up a story or a deeper meaning. The viewer sees nothing but the image itself.”
Miguel Vallinas’ on-going series ‘Ceci n’est pas’ (‘This is not’) – surrealistic photo montages exploring the concept of identity and individual choices diverse as the thoughts, dreams and desires about ourselves.
“This is not” invites us to think about “what is”, “what we believe to be”, “what the others think that we are”, “what we want to be” and “what we really are”.
Miguel Vallinas – Ceci n’est pas
The title is inspired by a work of the Belgian artist Rene Magritte, though here the focus is not to challenge observers’ preconditioned perceptions that everything is implicit as a result of our preconceived ideas, but to urge them to find answers on identity and acceptance
Matthieu Gafsou’s series ‘Ether’ – from Earth perspective capturing the human presence in the sky in an elegant dance of light as a part of a project questioning the philosophical consequences of man’s colonization and the limits of science.
Matthieu Gafsou – Ether
“It makes civilization photographically visible in the sky and show how we have colonized what’s above us. The resulting fine lines and delicate shapes seem to underlie unitary principles and appear as a higher-order structure that is reminiscent of the shape of nature.
The captured and seemingly structured phenomena reminiscent of chemical compounds, scientific classification systems, physical laws – the poetic structure of the world.”
Chris McCaw’s series ‘Sunburn’ – painted by the sun Zen landscapes in black and white, produced on paper negatives with handmade cameras.
Chris McCaw – Sunburn
“In this process the sun burns its path onto the light sensitive negative. After hours of exposure, the sky, as a result of the extremely intense light exposure, reacts in an effect called solarization- a natural reversal of tonality through over exposure. The resulting negative literally has a burnt hole in it with the landscape in complete reversal. The subject of the photograph (the sun) has transcended the idea that a photograph is simple a representation of reality, and has physically come through the lens and put its hand onto the final piece. This is a process of creation and destruction, all happening within the camera.”
Rory Carnegie’s series ‘Long Ago and Far Away’ – painterly portrait series of animals exploring the theme about relocation, habitat, identity and belonging, and what it means to be indigenous.
Rory Carnegie – Long Ago and Far Away
“Looking at the work of Durer, Rembrandt and Stubbs led to an interest in the apparent disconnection between animals and their habitat. How artists had historically represented animals which they might not have seen, or not seen in ‘the wild’ made me question what a natural habitat actually meant.
There is an apocryphal story that George Stubbs saw a lion killing a horse in North Africa on his way back from Italy, but this is unlikely to be true. His 1763 painting of a zebra which he saw in a private menagerie, is placed in what looks like a North European woodland. The painting appears perfectly balanced and correct although the animal is in a habitat with which it is not normally associated.”
Adriene Hughes’ series ‘Iceland’ – volcanic landscape in infrared focusing on the effect of human intervention on global warming to shift our collective ecosystem.
Adriene Hughes – Iceland
“As an artist and photographer I believe every voice counts. I choose to take a position where scientific research is paramount and the visual occupies as documentary evidence. I have attempted to use my camera as a way to talk about the landscape, our connection to environment, and the changes upon earth.
As cancer survivor, the artist see nature as a way to connect to a primal part of herself. “I feel as if I belong in the pictures I take… There is an attachment to environments that struggle to survive, like I did. I simply feel connected in ways that words can never describe.”
This is a poetic visual conversation with photographer’s family where fragments and layers overlap and blur, in exploring the transitory nature of existence and how they bridge together past and present, and shape her own mental landscape.
Molly Lamb – Ghost Stepping
“It probably began with the crepe myrtle tree outside my window. The tangle of branches made sense to me, and this became the way I made sense of everything that didn’t.
Over the years, I have inherited the belongings of most of my family. Packing and unpacking them has become an internal conversation about the reach of the past into the present. The belongings they left behind, elusive memories, and contradictory family stories form the precarious bedrock upon which my present reality rests.”