“I use color negatives, which I developed as black & white photos, thus the photos become more of an abstraction. After that I sew (sewing machine) the photos. The photography simulates a reality and documents the transience. The treatment is integrated into the scene. When the viewer is a distance the photo looks like “one” picture. But closer to the photo the viewer will clearly see manipulation. The treatment turns the landscape into a ‘real image of fiction’.”
These impressive images are poetical exploring of the heritage, landscapes and sanctuary sites of India. They capture rare moments and atmospheres and by no means are records of the modern daily colourful loud life of this exotic place.
‘The pale morning light fascinates the photographer and is intrinsic to the distinctive mysteriousness of her imagery, aided by her use of a panoramic camera for her photographs. Long exposure times create a slight mistiness in her black and white negatives that she later enlarges and adds sepia tones. Her photographic process results in breathtaking prints of tremendous depth ‘ (artist review – Bernheimer Fine Art Gallery)
“This is the atmosphere that I wanted to capture – these rare timeless yet evanescent moments. If you get up early enough in the morning or hop on a bus and seek out more remote places, you get rewarded with the magic side of this uniquely diverse country.”
From 1989 to 1994 Danish photographer Joakim Eskildsen travelled through Norway, Scotland, Denmark, Sweden, Iceland and the Faroe Islands in searching of those elements that define the mystic atmosphere of the land and its relationship with those who inhabit it.
“I think that I managed to capture here the meaning of the Nordic Signs, something that is at the same time wild yet livable, and profoundly shaped by the climate, the wind, and destiny.”
Joakim Eskildsen – Nordic Signs
The photographs were self-published in a book ‘Nordic Signs’ in 1995, but now it is out of print and sought after.
Following in the footsteps of the artist Johannes Larsen (1867-1961) to mark the centenary of his first visit to the area at Filsø, Denmark, resulted in a story how she as an artist experienced the place within the same harsh but sensual landscape, he sought out.
Darren Almond’s series ‘Fullmoon’ – a long exposure and the invisible landscape turns to a visible meditation.
“Light generates life – this is why we are drawn to it, but contrary to the harsh light of the sun, the reflective light of the moon makes us see further. The landscape of the night is an emotional landscape as much as it is a physical landscape.”
The first photographs on nights with a full moon, English artist Darren Almond took in 1998 initiated an experiment, which he called Fifteen Minute Moon. This became the starting point to an ongoing series of works, now known as ‘Fullmoon‘ and available as a photo book published by Taschen.
“The moon is the sculpture, that belongs to everybody on the planet. It’s a small glimmer of light between two voids of darkness. The moon to me is a historical point, a point we can relate to. Everything beyond the moon is just too far away, is beyond language.”
“I studied Chinese landscape painting and became obsessed with the idea of trying to understand their way of looking at nature. As I found most of the holy mountains they had been depicting for thousands of years were almost destroyed by pollution or otherwise turned into tourist spots, it became for me a search for a landscape that doesn’t really exist, an idealized picture”
With his abstract landscape paintings Micah Crandall-Bear “examines Earth’s intrinsic resources and our disposition toward their accelerated transformation. His concept is infused with linear layers that cascade from atmospheric to subterranean. Landscape details hint at daily and seasonal shifts in light, evoking a sense of evolution and balance. In an ever-increasing technological world, his work reminds us to pause and admire our wild and natural surroundings. He presents abstractions that inspire a deep and effusive connection to nature.”