Coming from his personal experience with depression and anxiety, Edward Honoker illustrates in his series that “your mind is who you are and when it doesn’t work properly, it’s scary.”
Laurent Chéhère series ‘Flying Houses‘ is inspired by a poetic vision of old Paris, mainly by its poor and cosmopolitan neighborhoods. The author isolates these buildings of their urban context and releases them from the anonymity of the street to tell the life, the dreams and the hopes of these inhabitants.He gives some keys, but these flying houses remain open to the interpretation, it’s finally the observer who will make his own way.
“I was so hooked when I read it, so decided to create a romantic series of images and call it ‘Black and White Magic of Saint Petersburg.’ But how you create magic? How to translate it? You can’t just say to people ‘this is magic’. They have to feel it.
Marcel Proust taught me that the only way to communicate and to share what I was feeling with others is the use of the metaphor. The metaphor of the magic was to create it by the way of the process of solarisation.”
With halo-like outlines around forms and areas, they somehow disperse in a smooth humid atmosphere, just like the one of St. Petersburg, and makes the images more romantic. It is if they have been rocked by the wind, penetrated by the air, swallowed up in space.
The series was created 1995-1997.
“There are, Nastenka, though you may not know it, strange nooks in Petersburg. It seems as though the same sun that shines for all Petersburg people does not peep into those spots, but some other different, new one, as if bespoken expressly for those nooks, and it throws a different light on everything. In these corners, dear Nastenka, a quite a different life is lived, quite unlike the life that is surging round us. But such as perhaps exists in some unknown realm, not among us in our serious, overserious, time. Well, that life is a mixture of something purely fantastic, feverently ideal, with something (alas! Nastenka) dingly prosaic and ordinary, not to say incredibly vulgar…”
Translated from the Russian by Constance Garnett. In: Dostoevsky, Fyodor. White Nights. London: Heinemann, 1970, p. 15
Milagros Caturla – a rare Spanish photography talent discovered by chance
In 2001 while holidaying in Barcelona, American traveler Tom Sponheim bought for $3.50 at the local flee market Els Enchants an envelope with negatives from an unknown photographer. After the negatives were exposed few years later, amazing photographs from Barcelona’s life in the 1960s came to light. Fascinated by their quality Tom Sponheim decided to try to find their mystery author and in 2010 he created the Facebook page – ‘Las Fotos Perdidas de Barcelona’. Though many people identified themselves in the photos, still the identity of the original photographer remained unknown.
Until 2017 when Begoña Fernández thanks to hours of painstaking research in the archives eventually identified the photographer as Milagros Caturla. Actually, Milagros Caturla was not a professional photographer but a passionate amateur who used to ramble Barcelona streets in her free time catching the everyday life of her fellow- citizen. She was well known that time and had won many photo contests before her death in 2008.
So, will Milagros Caturla follow the destiny of Vivian Maier’s discovery? According to the words of Mr Sponheim the answer is no. “The images are not for sale. My main purpose is to make sure that these images are preserved for the people of Barcelona and for any of the families affected.”
The series ‘Natural Findings‘ by Cheryle St. Onge “explore the curiosity and awe of our early grasp of nature; a paper wasp nest that appears dropped from Mars, the frog egg masse that on close inspect, possible through a photograph, becomes a gelatinous scoop of stars, a constellation of black dots, soon to be tadpoles. The photographs become both the shared means of a longer examination and the conduit of our own private recollection of nature.”
“Combining an archaic photographic technique with objects that are part and parcel of contemporary life and modern consumer society, Swiss artistic duo put them in a rose-pink color of varying degrees of transparency, each boasting an aura of its own. While present in the traces, indeed almost tangible marks, they leave on the paper, they are at the same time absent, slowly fading away in the manner of an afterimage behind closed eyelids.” Martin Gasser Curator / Swiss Foundation for Photography, 2003