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.”
Joachim Froese’s series ‘Archive’ – still lifes of stacked in unstable towers books and china arranged in multiple panels as a ‘portrait’ of loss and a metaphor for memory constructed in our heads.
After the death of the artist’s German mother, her possessions were packed up randomly in boxes and sent to his home in Australia. When he unpacked them, because they were taken out of the context of his mother’s place, he couldn’t feel the same emotional connection. They looked “strangely unfamiliar and my relationship with them was ambiguous to say the least… The resulting photographs show objects that couldn’t stand up in reality. My ‘archive’ subsequently depicts imaginary scenarios presenting only an illusion of stability and rationality.”
Joachim Froese – Archive
“In contemporary society the idea of the archive plays an important role in the construction of knowledge and history, both public and private. We collect things to preserve a past that no longer exists. The medium of photography directly relates to this concept: the photograph deals with “what was” and thus plays a significant part in our perception of the past. It is one of the essential foundations on which we build elaborate mental structures to reassure our view of the world. As soon as we file the past in our personal archive of memories we select and construct – without realizing that many of the structures we are about to build are as unsound as the ones depicted in my work.”
‘Archive’ (2008) is the third and the last part of the project devoted to his mother, he made within two years to overcome the pain. The other two are ‘Portrait of my mother’ (2006) and ‘Written in the Past’ (2007).
Andrew Zuckerman’s series ‘Flower’ – a rich visual tour of mesmerizing nature’s timeless treasure comprising of radiant close-ups of more than 150 species, exotic and familiar. Set against his signature stark-white backdrop, the complexity of color, structure and texture in each specimen is lightened in detail revealing the subject’s essential qualities and giving a pure aesthetic pleasure to the viewer.
Andrew Zuckerman – Flower
“White for me has a sense of modernity and absence. From absence and white I can create something… It’s not about what I’m uniquely bringing to it, it’s more about what I’m bringing together and collecting in a consistent way.”
Driven by his obsessive taxonomical pursuits and removing all context, the artist created a sort of catalog with a contemporary, minimalist attitude to manifest the beauty and ephemerality of life.
From the dawn of its existence, mankind creates mythological homes for gods, and mythical other worlds of hope or doom. Because of our limited perception these places often share characteristics with our familiar earthly landscapes.
Keith Taylor – Otherworld
“The photographs of barren terrains were taken in the upper Midwest to render possible models of the Earth-like planets currently being sought by NASA’s Kepler mission, and it also references the mythologies of many cultures that establish a land that is home to spiritual beings or the dead… I am using photographs of real places to suggest realms that may or may not exist.”