Flore’s series ‘Lointains souvenirs’ – a slow long-distance journey to Indochina in the company of her grandmother and the French writer and experimental filmmaker Marguerite Duras, who both lived there once at the same time and locations.
Flore – Lointains souvenirs
It is neither a documentary of her family history nor an interpretation of the mythologies of the author. This is an intimate adventure to capture the echoes of two women’s voices and along with her own to compose a new delicate story woven from threads of melancholy tones, timeless memories and nostalgic poetry.
Guided by Marguerite Duras’s knowledge of the places in her works, Flore walked along the banks of Mekong River, the rice paddies of southern Cochin China, entered colonial houses, to find the atmosphere evoked by the imaginary she had created about these past times while visiting her grandmother’s house. This is not a simple tale about ordinary harmony and beauty, but through a kind of haze and blurred horizon, the artist immersed us into a fascinating world with enigmatic landscapes, mysterious roads and dreamlike buildings.
Andrea Stone’s series ‘City Reflections’ – “imagery of colors, shapes and patterns, represents the way we place discordant pieces of our lives in proximity to each other, deconstruct the whole of an experience, embellish, elaborate and abstract the simple, plain and ordinary truth that is life.”
Andrea Stone – City Reflections
“We can try to look directly at the world and never truly see it. Reality, without intention, is inevitably distorted through the lens of our personal histories. It is like light on a window, deforming the objects it is reflecting. Although never fully objectively real, there are elements of reality most of us could agree on and that is why fragments of objects (a fluorescent light shining in a window, a car parked on a rooftop garage, or a rivet driven into steel) remain in these images as illustrations of how we see what’s in front of us.”
RongRong & inri’s ‘Tsumari Story’ – a tale about a man, a woman and their three children capturing their experiences and emotional journey in a unique and rural area as a response to primeval concepts of ‘the circle of life’ and ‘humanity as part of nature’.
The series was produced in Niigata Prefecture, one of Japan’s snowiest regions, between 2012 and 2014, following to an invitation by the Echigo-Tsumari Art Triennial. Because its transport network was comparatively late to upgrade, it has somewhat escaped the effects of the globalization. There, time flows according to its own rhythm and the lifestyles of those who still inhabit the villages haven’t changed for centuries.
RongRong & inri – Tsumari Story
“Our original intention for this series was to reflect a worldview based on the image created by the origin of the name of this area, “Tsumari” and its local legends. We wandered through the snow-covered maze with no clear objective, imagining a story of a man and woman who are seized by extreme emotions while living within Tsumari’s harsh natural environment.”
In her series ‘Dare alla Luce’, Amy Friend is a fairy, who by piercing holes with a magic wand allowed spots of light to pass through vintage photographs, bursting into stardust and playing like fireflies, “to bring them to light”, as a moment of re-birth of the lost souls and their stories.
Amy Friend – Dare alla Luce
“I am not specifically concerned with capturing a “concrete” reality in my photographs… Through hand-manipulated interventions I alter and subsequently re-photograph the images “re-making” photographs that oscillate between what is present and absent. I aim to comment on the fragile quality of the photographic object but also on the fragility of our lives, our history. All are lost so easily. By employing the tools of photography, I “re-use” light, allowing it to shine through the holes. In a playful and yet, literal manner, I return the subjects of the photographs back to the light, while simultaneously bringing them forward. I play with the light and use it metaphorically allowing for new readings, sometimes through heavy-handed applications and at other times delicately. The images are permanently altered; they are lost and reborn…”
Christopher Thomas’s series ‘Passion’ – human emotions of pain and sorrow like paintings of the Old Masters, taken during the rehearsals for the 2010 production by amateur actors for the Oberammergau Passion Play.
Christopher Thomas – Passion
“It is not an overview, offers no explanation and makes no claim to completeness. My intentions was to convey the timeless impressions of the Passion that are taken from classical painting – an attempt to capture the enormous energy and emotion of the performance. It is not a collection of the most important characters and scenes but tries rather to show just how important is the dedication of everyone. The few people show here stand for the huge number of participants.”
Eric William Carroll’s on-going series ‘Blue Line of Woods’ – cameraless images of fleeting shadows of the forest floor captured on a massive scale to explore the enormous distances in space and time.
Eric William Carroll – Blue Line of Woods
“Equal parts Carlton Watkins and Anna Atkins, I am interested in visualizing a space over hours and days instead of fractions of a second. Usually installed in darkened rooms, one must spend time with the images before the details begin to reveal themselves. Each panel measures approximately three feet wide by six feet high, and are typically produced in pairs or groups of four.”
Watch this short video documenting the working process.
Baptiste Léonne’s painted photographs ‘Photo Diva’ – the uniqueness of a woman through an array of colours she naturally emanates and the secrets hidden behind the reflection of their grace as an admiration of a female beauty or a nostalgic search for a woman who no longer exists.
Kikuji Kawada‘s series ‘The Last Cosmology’ – deeply emotional imagery of mainly stars, eclipses, cloudscapes and other celestial phenomena as a chronicle of the dramas in the skies and symbols of life and death, and the fragile nature of our existence.
The photographs were captured between 1980 and 2000, feeling a sense of nostalgic void caused by two historical events on earth: the death of the Emperor Hirohito in 1989 and the Showa Era in Japan ending with him, and the end of 20th century.
Kikuji Kawada – The Last Cosmology
“I was born at the beginning of the Showa Era. There was a great war during my boyhood and then I lived during the period of re-construction and growth and now I slowly approach the evening of life. Through these photographs the cosmology is an illusion of the firmament at the same time it includes the reality of an era and also the cosmology of a changing heart… I imagine the era and myself as an implicitly intermingling catastrophe… I want to spy on the depths of a multihued heart that is like a Karman vortex.”
Jason Shulman’s series ‘Photographs of Films’ – an entire movie in a single image. “There are roughly 130,000 frames in a 90-minute film and every frame of each film is recorded in these photographs.”
In searching of a way how to span the time, the artist started experimenting with a very long exposure of moving images like news and sports events, when finally he pointed his camera to films playing for the whole duration. The choice of the movies was a pretty random selection – ‘La Dolce Vita’, ‘Taxi driver’, ‘The Great Beauty’, ‘Yellow Submarine’, ‘A Clockwork Orange’, ‘Alice in Wonderland’ to mention a few. To get 54 photographs he shoot about 900 movies.
Jason Shulman – Photographs of Films
“You can learn something about the director’s style from this kind of kooky translation: you can learn that Hitchcock deals with people, for example, Kubrick deals with composition, Bergman deals with … I mean lots of Bergman films are kind of moody and psychological, much more so than other films”
It turned out that the unpredictable results depend mainly on the director’s style. “Some of the photographs appear to have little in common with the films they represent or some films didn’t work so well.”
However, as Shulman stated, eventually it is the viewer who will interpret his ‘impressionistic’ works through his/her own story. “Just like reading shapes in a cloud, they see what they want to see.”