Philipp Keel – ‘Splash’

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)

Philipp Keel - Splash

Philipp Keel – Splash

 

Philipp Keel - Splash

Philipp Keel – Splash

 

The series is published in a photobook by Steidl.

 

Platon Antoniou – ‘Coming home Greece’

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

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.

When I came back to Greece, I came back to my people and it was an unpaired experience of finding my feet as a human being.”  (quotations from the Netflix documentary series Abstract: The Art of Design, Platon: Photography).

 

Cathleen Naundorf – ‘Haute Couture Colour’

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 – Haute Couture Colour

 

Cathleen Naundorf works with analogue large-format cameras combined with Polaroid film or negative film

The series is included in a photobook ‘HAUTE COUTURE – The Polaroids of Cathleen Naundorf‘ published in 2012 by Prestel.

 

Ahn Jun – ‘One Life‘

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

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).

 

Awoiska van der Molen – ‘Nature’

Awoiska van der Molen - Nature (2015-2016)

Awoiska van der Molen – Nature (2015-2016)

 

Awoiska van der Molen‘s series ‘Nature’  –  in search of solitude where divine projects itself as part of the collective memory.

“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)

 

Awoiska van der Molen - Nature (2015-2016)

Awoiska van der Molen – Nature (2015-2016)

 

Klea McKenna – ‘Automatic Earth’

Klea McKenna’s series of photograms ‘Automatic Earth’ – tree circles as a nature stamp of human emotions.

“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.”

Klea McKenna - Automatic Earth

Klea McKenna – Automatic Earth

 

 

Elaine Duigenan – Blossfeldt’s Apprentice

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.

Elaine Duigenan - Blossfeldt's Apprentice

Elaine Duigenan – Blossfeldt’s Apprentice

 

 

Sebastian Schutyser – ‘Flowers of the Moon’

Sebastian Schutyser’s series ‘Flowers of the Moon’ – capturing with black and white infrared photography the mystical aura of the Mountains of the Moon, unveiling the pristine beauty of these landscapes as a lost paradise.

“In the heart of Africa lies an icecapped massif with a mythical resonance: the Mountains of the Moon (Rwenzori Mountains). The ancient Greeks referred to them as the supposed sources of the river Nile. Ever since, explorers, scientists and adventurers have been fascinated by this last great mountain discovery of the world, on the border of present Uganda and the Congo. The afroalpine climate of the Rwenzori Mountains is determined by two geographical factors: they are very near to the equator, and high above sea level with peaks over 5000m. These particular conditons have provoked an extravagant vegetation. Most stunning are the giant heathers, senecios, and lobelias. What emerges is an image of a sublime landscape in resonance with the paintings of Douanier Rousseau.”

Sebastian Schutyser - Flowers of the Moon

Sebastian Schutyser – Flowers of the Moon

 

The series is published in a photo book

Brendan Pattengale – ‘Color of Love’

Brendan Pattengale’s work ‘Color of Love’ – landscapes with otherworldly aesthetic, in a new, transformative way pushing boundaries of interpretation, representation and colour perception.

“I am still learning and processing in my study of colour. Colour is a symbol. These pictures are about colour, about emotion, about living, about breathing, about all the things we go through as human beings… The best way of seeing my work is by thinking that I am a painter.”

Brendan Pattengale - Color of Love

Brendan Pattengale – Color of Love

 

 

Kevin Best – ‘Still Life’

Kevin Best’s Still Lifes –  contemporary photographic versions of the classic Dutch still life paintings using authentic antique props such as 300-year-old bronze candlesticks, antique silverware, German jugs or “Kraak” porcelain, to decode their complex symbolism and reinterpret them for the modern viewer.

“The Dutch were all about making their paintings look real. My work takes the reality of photography and makes it look like a painting so viewers get the same sense of awe… For centuries artists have used the still life to hone their creative and technical skills. Still life photography is challenging and intellectually stimulating”.

Kevin Best - Still Life

Kevin Best – Still Life