Li Hui’s series ‘Double’ – combing images in two as a visual communication between the nature and the human’s inner sensitivity to expose neglected fleeting moments of intimacy in our lives. Focusing on visible but overlooked details like unconscious body language, fruits or flowers patterns, using analog technique of double exposure, she creates a delicate unknown world with little stories of imagination and surreal subtle beauty to overcome social constraints.
Bryan Graf’s series ‘The Sun Room’ – abstracts of his studio as optical investigations of the plural nature of reality through intertwined layers of a place, its emotional impact and the associative interpretations of that landscape.
Bryan Graf – The Sun Room
“It (the studio) doubles as a solarium and a winter garden for plants and seedlings in the colder months; it’s also a point of origin for all of the experiments, series, works and failures that I have made over the years. Visual and physical traces of the room have found their way into my process. The changing light in the studio (wisteria vines have slowly overtaken the roof), the accumulation of mesh screens in the corner of the room, text from the day’s playlist of songs….it all coalesces into an ongoing visual journal of my studio practice.
I’ve come to see the camera as a sun room itself: a dark chamber that facilitates the generation of an image through the collection of light. The works all originate in a garden—a cultivation of intentional and unintentional methods of working that flow into a procession of images, all of it growing out of necessity.”
Sasan Abri’s series ‘Sundays’ – recollecting fading memories through the visual signs and codes of flowers as a part of the eternal cycle from reality to dream and vice versa. Photographic representation of a passionate, poetic, metaphorical, yet putrefiable dream of life and death.
Juanita Escobar’s project ‘ORINOCO women’s journal’ – “The setting for my story is the Orinoco River in the Colombian department of Vichada, which marks the border between rural Colombia and Venezuela…
Juanita Escobar – ORINOCO women’s journal
I want to tell the stories of the women that share this territory: the indigenous woman — the Sikuani, Amorúa, Piaroa, Puinave, Curripaco and Saliva — the Venezuelan woman, the plains woman. They populate the area around this border, as nomads or sedentary inhabitants and are the ones who guide us through these territories where they are always on the move, allowing us to become part of their memory… Women have suffered the impacts of borders most severely. I have therefore decided that it is their legacy, wounds and present conditions that should be recorded in this first chapter of a project intended to be long-term… I want to search for the visual marks left by the earth, river and jungle in the faces of the people, in their skin. I also want to look for emotions that exit the body to become landscape and atmosphere.”
Juanita Escobar – ORINOCO women’s journal
Oniroco: oneiri * and Orinoco, a combination of river and dreams. Or perhaps nightmares. *In Spanish oneiri is Onirico, which is really close to the name of the river: Orinoco.
Daniel Mariotti’s series ‘Hello, Sunshine’ – 31 photographs taken over 31 days of journaling capture the fluctuation of how I experience depression. Even on my best days, where the world appears most vivid and colorful, depression is ever present … . It’s important to note that depression is not sadness. Sadness is a fleeting emotion tied to circumstance. Depression makes me view things indirectly; much like the photographs from this series, my focal point is a white cloud and the details are in the peripherals making it harder to see the landscape. Other days it almost blends in seamlessly… The way we perceive our world is affected by masses, both physical and emotional, that operate like gravity, pulling our attention to it, forever altering the way we interact with the world around us. Hello, Sunshine draws from Einstein’s theory of relativity, exploring the gravity of depression.”
Daniel Mariotti – Hello, Sunshine
The series is accompanied by poems and is published in a photo book.
Stelios Kallinikou’s series ‘Studies in Geology’ – appealing abstracts from the Cypriot landscape where space, place, time and history intersect, as manifestations of interweaving discusses of meaning and embracing the simultaneity of extremes.
Stelios Kallinikou – Studies in Geology
“The birth and emergence of the island of Cyprus and the Troodos mountain range (where the photographs were taken) is the result of unique and complex geological processes that lasted millions of years. Troodos, the largest mountain range in Cyprus, was created by volcanic activity at the depths of the ocean 90 million years ago. As we rise up to Troodos, the rock formations we come across are the same as those that we would have come across when going down to the depths of the oceans. Therefore, the geographical coordinates of the photographs reveal that we are located at Troodos, the highest peak of the island, whilst geologically we are located at the bottom of the ancient ocean of Tethys.”
Stelios Kallinikou – Studies in Geology
To learn more about the series, watch this short video about his exhibition at Foam in 2018.
Rinko Kawauchi‘s series ‘The river embraced me’ – “shot across forty different locations, all inspired by memories of the people of Kumamoto to unify the stories of people’s memories with works of photography. By capturing the backdrops of these recollections, the experience brings life to memory within the photographer, and as such allows the viewer to feel the budding of memories of their own. Within time, flowing like a river, we find our memories embracing all of us. Through the scenes and places captured within these photographs, one finds this photo collection to be overflowing with refreshing moments — ones that open the doors to our own memory.”
Hugo Deverchere‘s cyanotypes ‘Cosmorama’ – “explores, makes visible and materializes an inaccessible stratum of the light spectrum.
Consisting of several subsets, this series of cyanotypes was produced in relation with the Observatory of Teide, in Tenerife. Stellar clusters captured by a telescope, images recomposed from data that attempt an impossible mapping of the dark matter of the Universe, fragments of volcanic rocks whose composition is identical to certain meteors, signs of an animal presence harvested in a desert of lava where Nasa tested the Curiosity rover before sending it to Mars, plant forms taken from a primary forest testifying to the state of our continent 50 million years ago: the whole recompose a world outside of the world which upsets and transcends the spatial and temporal scales.
These images were produced from an infrared capture process with which astronomers usually observe “deep sky” objects such as planets, nebulae and black holes located outside our galaxy. Also developed by an astronomer, cyanotypy is a contact printing process that allows us to create an imprint of these radiations that escape our perception.”
Adriene Hughes’ project in four chapters ‘Threaded Icebergs’ – pristine arctic landscapes “marked by geometric patterns (either hand sewn, or marked through illustration) to demonstrate the way wind, language and memory travel, carving into icebergs the stories of the past, present and future. Geometric pattern mirrors the sacred viewpoints of indigenous and religious practices throughout time, viewing the earth as sacred.
Lacking noticeable objects in the landscape, we are left with nothing but shapes, color and light. All of which combined to affect my mood, and to impact my emotions, which I hope comes through in my work.”
Adriene Hughes -Threaded Icebergs
Feeling connected to the healing power of nature after personal struggles for health surviving, these images are also a call into action to balance of our collective ecosystem and an act of honor and respect to the nature that made us.
Manuel H. Márquez – Dancing around gasoline geysers
“The country seems to only need a spark to burst into flames. This condition is deliberately reflected in this series of images. All of them present different degrees of fogging, burning, re-exposure to light, and intervention of translucent ghostly elements in their surface. Within the current state of affairs, to produce a clean and unspoiled image in Mexico seems to be an attempt to idealize reality and to overlook the limitless historical, social, and individual happenings taking place on its territory. These images offer an escape while simultaneously reflecting a parcel of reality.”