Marcia Lippmann’s ‘Travels East’ – inviting to a meditative journey of hidden details in search of beauty, serenity, absence, rejection, secret, holiness, ritual, ceremony, memory, spirituality, imagination, decay and chaos.
“It is the image in the mind that links us to our lost treasures; but it is loss that shapes the image, gathers the flowers, weaves the garland. Lost time is never found again” Collette
“This work is like encountering a strange film which, after a while seems not to be a film at all but an experience you are having, a kind of a journey that you don’t remember setting out on… In the end, as with all good journeys, you are someplace else and you are a little different, though in ways you can’t describe.”
Louis Blanc’s black and white series ’cORpuS’ – ‘sculpturing’ a fascinating world of body language and its emotions from different positions and angles. Everything is a question of point of view.
“To realize an image, I leave a preliminary idea and then the image builds itself little by little, in the course of the numerous shots, until arrive at an image which speaks, which seems inhabited (it does not work each time!). And the final result is often very distant from the initial idea, but it is very well like that, a mixture of intention and unforeseen! I always use the natural light coming from a window more sometimes a low power deported flash.”
Lalla Essaydi‘s ‘Bullet Revisted’ – through exploring the complexity of Arab female identity, the wish of the photographer is that her works be as vividly present and yet as elusive as “woman” herself — not simply because she is veiled or turns away – but because she is still in progress.
Lalla Essaydi – Buller Revisted
Lalla A. Essaydi grew up in Morocco and now lives in USA
Todd Hido’s landscapes express the natural beauty of the open road on a rainy day through the blurry view of the windshield as an additional lens. Defined by an open horizon, his photographs create a perception of vastness, infinity and freedom.
“I had been photographing landscapes for a couple of years, but had no intention of making anything of them… I had no other purpose of making them other than responding to the beauty that I saw.”
“The woods do not care for the loud, suffocating city life, where we people are trying to live or rather trying to survive. The trees are following their own patterns that have been gently hard-coded inside them by some superior energy. The trees exist in an almost imperceptible perpetual motion as they change and breathe. While in the world created by humans a futureless race, alienation and a kind of fossilized economic and moral crisis, which here among the woods appear rather distant, continue to exist. This faraway, ancient silence embodies everything, embracing those who enter. The silence is what I am searching for in places like this. Searching for the boundless in the silence. Searching for the beginning in the infinite. My beginning.”
Nadežda Nikolova-Kratzer‘s ‘Solvitur Ambulando’ – “wet plate collodion photograms of flora I collected during walks and meanderings to explore ecological themes by drawing on the herbarium tradition and connecting to the dawn of photography.”
Nadežda Nikolova-Kratzer – Solvitur Ambulando
“This series also explores a deeply personal inward journey, which speaks to the second perspective. I collected the flora during a period of upheaval, anticipation and loss. Each piece is a self-contained visual poem within the larger whole, where the medium itself plays a part in the storytelling. By manipulating chemistry, timing and light I create artifacts that suggest mystery and drama, evoking a spectrum of psychological interiors. Forms combine with textures to create moods and associations. Plant materials and arrangements hint at symbols. The herbarium becomes a catalog of “psychological specimens,” tethered to a time and place yet also existing outside of time and place; the biological specimens returning to the viewer as personal memories. In this manner, the natural form becomes inseparable from the artifact; the image inseparable from the hand; the objective inseparable from the subjective.”
*Solvitur Ambulando – a Latin phrase which means “it is solved by walking” and is used to refer to a problem which is solved by a practical experiment.
Enchanted by the beauty of abandoned places, the Italian photographer travels across Europe with “the inner desire to describe to the others everything he meets like a fresco” and portrays these modern ruins as symbols of a lost time that is calling to be found.
Noell Oszvald’s black and white powerful surreal self-portraits with highly conceptual aesthetic and the purity of a simple composition.
“I don’t want to tell people what to see in my images. This is the reason why I never really write any descriptions other than titles. It shows what I wish to express but everyone is free to figure out what the picture says to them. It’s very interesting to read so many different thoughts about the same piece of work.”
The series comprises of six nighttime images of rural landscapes in central Finland well-lit by a strange artificial light instead of be surrounded by an impenetrable darkness usual for the winter months for these places.
A metaphor for the coming end of the world, a quiet event that will pass completely unperceived in the universe, or by these remote and pretty sparsely populated scenes evoking emotions of solitude and maybe to dare to step into the forest, into the unknown?
Clarissa Bonet’s series ‘Stray Light’ – “Building facades melt into darkness, their architectural details vanish, leaving only glowing windows in a sea of pitch black, like stars in the night sky.”
Clarissa Bonet – Stray Light
“Stray Light is an ongoing photographic project aimed at imaging the nocturnal urban landscape. We have all but lost the night for our progress. In its place we have formed a new cosmos, one of vanished surfaces and flecks of light.
Carefully constructing each image from multiple photographs, I reform the urban landscape in my own vision – one that seeks to reconstruct the heavens in its absence above the cityscape. Light emanating from each window references a world unknown, evoking a sense of mystery and awe. We no longer look up to the night’s sky with awe. Instead, that is how we look out at the city.”