Hugo Deverchere‘s cyanotypes ‘Cosmorama’ – “explores, makes visible and materializes an inaccessible stratum of the light spectrum.
Consisting of several subsets, this series of cyanotypes was produced in relation with the Observatory of Teide, in Tenerife. Stellar clusters captured by a telescope, images recomposed from data that attempt an impossible mapping of the dark matter of the Universe, fragments of volcanic rocks whose composition is identical to certain meteors, signs of an animal presence harvested in a desert of lava where Nasa tested the Curiosity rover before sending it to Mars, plant forms taken from a primary forest testifying to the state of our continent 50 million years ago: the whole recompose a world outside of the world which upsets and transcends the spatial and temporal scales.
These images were produced from an infrared capture process with which astronomers usually observe “deep sky” objects such as planets, nebulae and black holes located outside our galaxy. Also developed by an astronomer, cyanotypy is a contact printing process that allows us to create an imprint of these radiations that escape our perception.”
Adriene Hughes’ project in four chapters ‘Threaded Icebergs’ – pristine arctic landscapes “marked by geometric patterns (either hand sewn, or marked through illustration) to demonstrate the way wind, language and memory travel, carving into icebergs the stories of the past, present and future. Geometric pattern mirrors the sacred viewpoints of indigenous and religious practices throughout time, viewing the earth as sacred.
Lacking noticeable objects in the landscape, we are left with nothing but shapes, color and light. All of which combined to affect my mood, and to impact my emotions, which I hope comes through in my work.”
Adriene Hughes -Threaded Icebergs
Feeling connected to the healing power of nature after personal struggles for health surviving, these images are also a call into action to balance of our collective ecosystem and an act of honor and respect to the nature that made us.
Manuel H. Márquez – Dancing around gasoline geysers
“The country seems to only need a spark to burst into flames. This condition is deliberately reflected in this series of images. All of them present different degrees of fogging, burning, re-exposure to light, and intervention of translucent ghostly elements in their surface. Within the current state of affairs, to produce a clean and unspoiled image in Mexico seems to be an attempt to idealize reality and to overlook the limitless historical, social, and individual happenings taking place on its territory. These images offer an escape while simultaneously reflecting a parcel of reality.”
Chun Hua Wu’s series ‘Paintings, array’ – a touch of nuanced subtlety from intimate moments in time almost like scattered entries of poetry in intricate relationship with textures, shapes and colors within a confined space (extracts from text by Mami Ku).
Yoshiyuki Oki’s series ‘On the frog and his life’ – “When a child, I found a small dried-up frog about the size of a fingertip and took it home. Carefully I put it away in a box together with other useless things. A dozen or so years later I came across the box. The frog had turned into nothing but bones. I found the transformation beautiful.
My eyes are turned to small things or ordinary scenes, the things easily overlooked. With a camera, we can photograph only the surface of things. But once I have them as photographs, the sensation that I had when I saw the small things begins to turn into something substantial, which always gives me surprise and joy.
Tommy Nease’s series ‘Nocturne’ – “landscapes, abstract forms, and anthropomorphic subjects in black and whites as a photographic illustration of psychological entropy and the eventual return to a primordial state. With the visible spectrum as my medium, I am wishing to create a world within the no man’s land between the spiritual extremities of light and dark. My inspiration stems from my interest in the collective unconscious, archetypal symbolism, and the natural world. The images that I create contain representations and forms that call on experiences hidden within our psyche… I hope for the experience to be that of a faint nostalgic memory, perhaps one from a past life.”
We must unhumanize our views a little, and become confident As the rock and ocean that we were made from. —Robinson Jeffers
Ron Jude – 12 Hz
Ron Jude’s series ‘12 Hz’ – large-scale black and white images of primordial landscapes focusing on the raw materials of the planet as a visual chronicle of the constant changes in our physical world where the natural phenomena operate independently of anthropocentric experience.
“The title of this work references the limits of human perception—12 Hz is the lowest sound threshold of human hearing. It suggests imperceptible forces, from plate tectonics to the ocean tides, from cycles of growth and decay in the forest, to the incomprehensibility of geological spans of time. The photographs in 12 Hz allude to the ungraspable scale and veiled mechanics of these phenomena, while acknowledging a desire to gain a broader perspective, beyond the human enterprise, in a time of ecological and political crisis.”
You could listen to a sample clip of the 12 Hz audio component by Joshua Bonnetta (best with headphones).
Dolorès Marat’s series ‘Orient’, part of the project Voyages – “the spectator is free to imagine multiple functions, adventures, feelings. Her photographs all function in a very particular manner: they provoke the imagination of the viewer. Ghost-like characters appear from into the night. People, places and objects are all decorative elements that the photographer catches in surprise, redefines in order to re-appropriate them. She transforms them with her talent into magical and unreal photographs that flirt with eternity” (Michel Guerrin)
Inspired by her Ph.D. in neuroscience specialized in super-resolution fluorescence microscopy, the artist applies its sensitivity and methods to forests, rocks, plants, and stars, and by adding light to dark sceneries, enhances structure and makes new versions of reality visible.’
”In the middle of the forest there’s an unexpected clearing which can only be found by those who have gotten lost” (Tranströmer)
Linda Westin – Illuminated dendrology _ Portraits of the woods
“Nowadays, when the cherries bloom, people think it’s time for a party. They go under the trees and eat and drink and mouth the old sayings about spring and pretty blossoms, but it’s all one big lie. I mean, it wasn’t until Edo, maybe a couple of hundred years ago, that people started crowding under cherry blossoms to drink and puke and fight. In the old days – the really old days – nobody gave a damn about the view. They were scared to go under the blossoms. People today think they can have a wild time under the trees, but take the people out of the picture and it’s just plain scary… Without people, a forest of cherries in full bloom is not pretty, just something to be afraid of.”
Daido Moriyama – Ango
Through a strange romance between a beautiful but monstrous woman and a bandit, who scared of nothing except the feeling when going under cherry blossoms in bloom, at the end when he dispelled his fears and felt a relief, he found that the secret of the cherry forest might be the frightening loneliness and infinite emptiness.
“Even now, no one knows the secret of the cherry forest in full bloom. Perhaps it was loneliness. For the man no longer had to fear loneliness. He was loneliness itself. Now, for the first time, he looked all around. Above him where the blossoms. Beneath them was the silent, infinite emptiness, the stillness of the rain of blossoms. That was all. Beyond that, there was no secret.”