Chris McCaw’s series ‘Sunburn’ – painted by the sun Zen landscapes in black and white, produced on paper negatives with handmade cameras.
Chris McCaw – Sunburn
“In this process the sun burns its path onto the light sensitive negative. After hours of exposure, the sky, as a result of the extremely intense light exposure, reacts in an effect called solarization- a natural reversal of tonality through over exposure. The resulting negative literally has a burnt hole in it with the landscape in complete reversal. The subject of the photograph (the sun) has transcended the idea that a photograph is simple a representation of reality, and has physically come through the lens and put its hand onto the final piece. This is a process of creation and destruction, all happening within the camera.”
Rory Carnegie’s series ‘Long Ago and Far Away’ – painterly portrait series of animals exploring the theme about relocation, habitat, identity and belonging, and what it means to be indigenous.
Rory Carnegie – Long Ago and Far Away
“Looking at the work of Durer, Rembrandt and Stubbs led to an interest in the apparent disconnection between animals and their habitat. How artists had historically represented animals which they might not have seen, or not seen in ‘the wild’ made me question what a natural habitat actually meant.
There is an apocryphal story that George Stubbs saw a lion killing a horse in North Africa on his way back from Italy, but this is unlikely to be true. His 1763 painting of a zebra which he saw in a private menagerie, is placed in what looks like a North European woodland. The painting appears perfectly balanced and correct although the animal is in a habitat with which it is not normally associated.”
Adriene Hughes’ series ‘Iceland’ – volcanic landscape in infrared focusing on the effect of human intervention on global warming to shift our collective ecosystem.
Adriene Hughes – Iceland
“As an artist and photographer I believe every voice counts. I choose to take a position where scientific research is paramount and the visual occupies as documentary evidence. I have attempted to use my camera as a way to talk about the landscape, our connection to environment, and the changes upon earth.
As cancer survivor, the artist see nature as a way to connect to a primal part of herself. “I feel as if I belong in the pictures I take… There is an attachment to environments that struggle to survive, like I did. I simply feel connected in ways that words can never describe.”
This is a poetic visual conversation with photographer’s family where fragments and layers overlap and blur, in exploring the transitory nature of existence and how they bridge together past and present, and shape her own mental landscape.
Molly Lamb – Ghost Stepping
“It probably began with the crepe myrtle tree outside my window. The tangle of branches made sense to me, and this became the way I made sense of everything that didn’t.
Over the years, I have inherited the belongings of most of my family. Packing and unpacking them has become an internal conversation about the reach of the past into the present. The belongings they left behind, elusive memories, and contradictory family stories form the precarious bedrock upon which my present reality rests.”
Rebecca Clark’s series ‘Seductive Deception’ – photomontages, created by distorting and re-composing isolated parts from photographs of old master paintings, with a new constructed fictional narrative to question the interpretation of original facts and the concept of duality.
“This series of photomontages transform art historical facts into photographic fiction… I use the camera frame to isolate and fragment, removing parts from their original context and reproducing selected facts. The photographs now liberated from the original artworks are subject to interpretation, distortion and manipulation. Elements from various paintings are woven into a constructed narrative that question and subvert the facts of the originals…”
Vincent Fournier’s series ‘Brasilia’ – a record of investigations on the Brazilian capital’s contemporary built city landscape, offering alternative narratives on architecture and environment.
“For me, the city of Brasilia with its radical architecture presents a particular interest in its relationship with time and fiction, like a modernist temple fossilized in a utopian future, which did never happen. Walking down the city transfers us into the spectator of a full-scale film set, feeling like the nostalgia for a future which belongs to the past, mixing fiction and reality, just like the novel Fictions written by Jorge Luis Borges. Brasilia, as other impossible places, evokes a collective dream and allows to imagine fiction.”
Katerina Kaloudi’s series ‘Sea Secrets’ – creating inner realities as ‘mirage’ in a sense of reflecting a mental landscape, through capturing with painterly quality the magical colours of silk waters in the Aegean Sea.
“Not just seeking a captured image but the recreation of an inner state, of an inner feeling that which is taking place between the self and the world around at the specific moment. The photographs are transformed into a new event to be discovered by the viewer. The photographed object becomes a metaphor. I am seeing the photographic process almost in mystical terms. Therefore I now find my subjects often in nature and in other solitary places.”
Tom Hegen’s ‘The Botanical Series’ – aerial view of trees like dots and dashes of Morse code messages written by humans recording stories about our presence on earth and the relationship between man and nature.
“One third of Germany’s surface is covered with forests. Compared to other countries forests in Germany are growing. Most forests are made by man since they have an important commercial value. For successful reforestation tree nurseries contribute by cultivating young plants to then rehouse them in nature.”
Tom Hegen – The Botanical Series
The series is included in a photo book ‘HABITAT‘ which will be published around autumn 2018.
Forced to leave the country as a seven-year-old child, the artist returned to this eerie area of beautiful bubble pockets of water and spectacular steaming gases in the Andes Mountains, to discovery how time and space reshaped perceptions and personal memories.
Luis Lazo – El Tatio El Hombre Que Llora
“My work interweaves, landscapes and portraits to reveal stories of shared experiences in a reflective and hopefully moving manner, capturing the relationship of the human subject in time, history and emotion. My main consideration is to engage and record the silent and fleeting nature of these little moments. To express their importance to me and capture their distinctive spontaneity.”
Patricia A. Bender’s series ‘Euclidean Pursuits’ – photograms of experiments with objects, lines, papers, shapes, light, shadow, texture in constructing a geometric abstract reality with infinite possibilities of conversations between art and emotion.
“For me, photography is nonverbal; words are for ideas, images are for emotions. I hope my images touch a positive emotional chord in the viewer, that viewers somehow connect their lives to my work in a meaningful and powerful way. I am not trying to educate or provoke intellectual rumination or represent reality or inform. I simply want to celebrate life, and the environments we live it in, and to move you”