Maimouna Guerresi’s series ‘Giants’ – monumental unreal beings like ancient guardians of hope and secrets to communicate the universal spirituality and infinite divinity. Inspired by mystical Muslim symbols, these enigmatic figures with invisible towering bodies draped in robes and covered with scarfs are like temples of the soul and doors to unknown space.
Maimouna Guerresi – Giants
In the 1980s, Patrizia Guerresi was well known in Italy for the conceptual feminist work. At the age of 40, she converted from Catholic to Sufi Islam, and the new belief profoundly transformed her art and life, mastering her cultural past and present in a mystical new language.
Noémie Goudal’s series ‘Observatoires’ – architectural constructed imagery into an abstract landscape between the earth and the heaven as symbols of humankind’s eternal obsession with time and space or monumental sculptures transporting to a different dimension? By creating a stage where several moments come together, the artist gives to the viewer the possibility to create his own story and compose his own visual impression of a shared reality and an enigmatic world.
Caleb Cain Marcus’s series ‘A Portrait of Ice’ – investigating glacial landscapes in a personal poetic journey in subtle blue, gray and cyan, as a part of our collective memory through million years history of the earth.
“When I am on a glacier there is a moment when the vast beauty enters me. And for that moment, the glacier is capable of shifting human consciousness and altering the reoccurring hum of reality. It is only you and the ice. A shard of something that has accidentally entered into this world. Then the ice screws’ melodic chime brings you out of one trance and into another.”
Caleb Cain Marcus – A Portrait of Ice
These photographs of glaciers of Patagonia, Iceland, Norway, New Zealand and Alaska, with painterly quality and no horizon, shift the perspective in a sense of losing the scale and raise awareness about environmental issues. ”Living in the city it easy to forget about the land; to forget that our history is held within the ice; that our history is melting. The Inuit elders say the melting of the ice is the land crying out in pain. Now we must listen.”
In more than 100 stunning ambrotype portraits of farmers and chefs accompanied by brief honest answers, Francesco Mastalia captured in his project ‘Organic‘ their beautiful, powerful, sensual stories and philosophy.
“Organic is working with nature, not telling it what to do, not demanding of things it can’t do.”
The archaic photographic technique is in refined harmony with the passion of these 21st century women and men who re-embraced the old ways of producing and preparing food. “Organic is the old, ancient, natural way that was predestined from all eternity for us to grow our own food.”
The project ‘Organic’ spotlights New York State’s Hudson Valley but opens a global dialogue about our future in living organically and sustainably in respect to the Earth. “Organic” is not just about growing and producing food, it is about the life of the planet.”
Pilar Pequeño’s series ‘Submerged Plants’ (Plantas Sumergidas) – serene still lifes of underwater flowers, embraced by tiny bubbles, to capture a piece of nebulous consciousness in portraying the architecture of universal beauty, and exploring certain aspects of the diverse manifestations of the natural world.
Pilar Pequeño – Submerged Plants
“I think it’s an inside look, trying to express my feelings with images. I always use natural light and I think that the same subject can have different images depending on the moment of light. What I’m trying to do is to imitate the human eye, with all its nuances that it manages to capture in its vision.”
François Halard’s series ‘Casa Ghirri’ – photographs where the sense of the artist’s presence, the objects that had surrounded him and the place itself are the main protagonists in a play, weaving their roles and create one intimate portrait of the great Italian photographer and the spirit of his house.
The idea for creating such an album was born after an encounter with Luigi Ghirri’s wife, Paula, in 2011. An album not only as separate silent notes about the decoration but as a poetic nostalgic story, told masterfully by François Halard, reflecting with the same palette the life and the energy of the artist.
Anni Hanén’s series ‘Trace’ – cyanotype and digital collages of archival materials and staged photographs as layers of poetic forms to uncover different traces of memory and emotions in order to understand universal feelings.
Anni Hanén – Trace
“The process finds its beginning in daily life, by hearing, seeing, reading or experiencing the things that draw my attention… The archives range from old family albums to mobile snapshots. Although my starting points are notes from daily life, it is the power of the imagination that allows this work to touch upon universal experiences.”
Leila Jeffreys’ ‘Birds’ – fascinating large-scale close-up portraits of birds abstracted from their accustomed context to reveal their beauty, complexity and majesty, and to bring into focus the striking and diverse character of Australia’s native wildlife.
Leila Jeffreys – Birds
“I thought of them as people. You can’t get a good portrait unless the bird is comfortable, so you talk to them. They don’t speak the same language back, but they look at you intensely, they listen to you. If they’re not so sure, they move away, and if they’re kind of curious they get a bit closer. They might turn their back on you… I want people to form an emotional connection with the work and develop an interest in wildlife.”
Viviane Sassen’s series ‘Umbra’ – capturing the darkest part of the shadows in coloured images of shapes and patterns as a juxtaposition of different perspectives. Inspired by the Surrealism these works, on the verge of the abstract, emphasize the play of light and shadow as metaphors of the human psyche.
“I find it difficult to conform to the idea of definitive truths; there are always two sides to the coin so everything should be allowed to exist at the same time.”
Alfred Ehrhardt (1901 -1984) ‘Mussels and Snails’ – a fascination with laws of nature: structural forms, beauty and mathematical precision as timeless cosmic symbols existing beyond the material realm.
Alfred Ehrhardt – Mussels and Snails
“What technical laws nature follows in its creation of forms and what a model of an architectonic and motoric spirit governs these organisms when they develop the shape of their bodies, leaves or shells?”
Through photographic studies of natural marine artifacts as corals, sponges, mussels, snails, sea urchins, and starfish, the artist expressed his great respect to the wealth of nature as an eternal force.
The first photo book ‘Mussels and Snails’ (‘Muscheln und Schnecken’) was published by Heinrich Ellermann Verlag in 1941 and in 1968 a new edition followed.