Rob Hudson’s series ‘North Towards the Orison’ – into the realm of imagination and the fusion of the Orison /orˈi-zən/, an old word for a prayer, and the Horizon, as a sense of living space between land and sky, inspired by the poetry of John Clare and the story about his escape in searching for his lost love.
Rob Hudson – North Towards the Orison
“In 1841 the poet John Clare walked out from the asylum in which he was incarcerated at High Beach in Epping Forest to walk the 80 miles north to his home in Helpston, near Peterborough. He went in search of his first love Mary Joyce, who’d been dead for three years and who he believed to be his wife, despite being married to another woman. The walk took Clare 4 days.
“I had imagind that the worlds end was at the edge of the orison & that a days journey was able to find it so I went with my heart full of hopes, pleasures & discoverys expecting when I got to the brink of the world that I could look down like looking into a large pit & see into its secrets the same as I believd I could see heaven by looking into water.” (source artist statement).
Arno Elias’s ‘The Lost Series’ – “hand-painted photography as a means of engaging philosophical disquisitions on culture, humankind, and wildlife inspired by his diverse experience and extensive traveling across various continents. This selection of Elias’ work reflects the artist’s wishes to maintain the cultural originality of the natural world that is or to be “lost” in the wake of globalization and industrialization.” (statement about The Lost Series)
Thomas Struth’s series ‘New Pictures from Paradise’ – large-format landscapes of dense primeval jungles and forest from all over the world as a deeper inner connection with the consciousness through contemplation and appreciation of nature. Thy are not a longing for a lost paradise or utopian visions, but a state of feeling to be one with the Universe at the present moment.
“Although they have a strong feeling of time, they are ahistorical. One sees a forest or a jungle but there is nothing to discover, no story to be told. They have more to do with the self. The viewing process is complicated, and the viewer becomes more aware of how he or she is processing the information, heightening an awareness of the here and now.”
Philipp Keel’s project ‘Splash’ – emphasizing the radiance of details and the shining colourful side of random objects in a new creative form of recording the magic of reality.
“The chance element in my work is not that I am confronted by a particular motif, but that I happen to have a camera with me at that decisive moment. From then on, I change from being a collector of images to an experimenter”. (Noovoeditions)
Platon Antoniou’s project ‘Coming home Greece’ – a personal story capturing with his iconic style the essence of the Greek soul through common people of everyday life from the Isle of Paros.
Platon Antoniou – Coming home Greece
“The camera is nothing more than a tool of communication, simplicity, shapes on a page. What is important is the story, the message, the feeling, the connection… My father used to do beautiful black and white drawings and I grew up with this sort of aesthetic in my head. It was so bold! I spent most of my adult life trying to find this visual language. If it is necessary, it is in there. If it is not necessary, it is not there. So strip it down, simplify it. Just go for the core…
My 35mm stuff is about context and atmosphere. It is not always about all the details I would get in a studio setting. The only thing is to focus on compassion, dignity and humility. It is a very powerful connection.
Cathleen Naundorf‘s ‘Haute Couture Colour’ – vivid images with pictorial quality and sense of mystery, unfolding layers of beauty, glamour, sophistication and exquisiteness of fashion as art, inspired by the timeless Italian and Flemish Renaissance masterpieces and Horst P. Horst’s influence.
“I was not really interested in fashion, because it was for me just clothes and in Germany I was thinking that their function is to keep you warm. When I started to see magazines, I started to realize the difference between a commercial fashion shoot and an artistic shoot… And, when I looked at the photobooks of Horst P. Horst, I discovered how fashion could be art.” After 10 years traveling around the world, she finally settled in Paris where was mesmerized with haute couture. “I thought that this couldn’t be a fashion, because it was so amazing.” (Documentary film about Cathleen Naundorf)
Cathleen Naundorf – Haute Couture Colour
Cathleen Naundorf works with analogue large-format cameras combined with Polaroid film or negative film
Ahn Jun‘s series ‘One Life’ – “investigating the relationship between performance and photography, surreality within a real world made by beauty of coincidence”
In her unphotoshopped photos resembling paintings, the artist wanted to capture imaginary situations “as if your everyday lives stopped temporarily and the gravity disappeared for a moment.” She explained her choice of apple as a symbol with multiple meanings. “Sometime it means the Newton’s apple and sometime it means the fruit of knowledge, and so on… In reality, if you throw an apple, it will fall … I wanted to express the law of nature or the apple transcending its destiny after it was thrown away.”
Ahn Jun – One Life
The quotations in the 2nd paragraph are from a short video about the artist, created by Christophe Guye Galerie, where could also have a quick look at her other works.
The series is published in a photobook by shashasha (they deliver Japanese and Asian Photography worldwide).
“The sense of the divine is an experience rather than a concept, a revelation rather than an intellectual construct… I recognise every photo by Awoiska van der Molen, I have been to all those places. I know the joy of saplings, the passion of a shrub, the sudden horror of the ravine, the lustiness of a tree stump, the untold doom in the darkest reaches of the undergrowth. These are not photos of or after Nature, the photos are part of that same Nature, of an event enabled by Nature via her camera at that particular point in time and that particular exposure.” (Arjen Mulder)
“Automatic Earth refers to what I see as a “blue print” that exists within nature; a plan within each organism to automatically generate a particular form or pattern that is then, inevitably flawed. I approach these broken patterns within the landscape as allegories for human emotional experience. It is where the pattern breaks that we are told something: a draught, a trauma, an interaction, the slash of a chainsaw…. a crack in the earth. The flaws in these pre-destined forms become a record of time and of labor and they tell the story of the life that made them.”
Elaine Duigenan’s series ‘Blossfeldt’s Apprentice’ – hand-made recreations of Karl Blossfeldt’s iconic images of botanical specimens in an attempt to show human’s imperfection in imitating the original forms of nature. Yet in these limitations, there is a momentary state of alignment with its perfection in the reflection of the idea of creative process and giving a life to new objects.