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.
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.”
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.”