all images are © the artist unless otherwise noted
Since the late 1990s, Alan Cohen has photographed “improbable borders” around the world. His abstract black-and-white photographs are visual evidence of generally invisible geological or geopolitical demarcations. Examples are borders between states or territories rich in historical contest, or navigational tools such as lines of longitude of latitude.
Key words: Borders - Barriers - Lines - Division - Maps - Abstract - Territory
Conceptually, I am interested in how these images speak to the nature of photography itself, how we create & recreate images generation after generation; the images could almost be interchangeable, only the characters have changed. They represent the cliché subjects that people often use photography to capture. Leisure, travel, the american road trip, photos or film footage shot from the window of the moving car are all topics that the work references.
Key words: Home - Memory - Time - Record - Nostalgia - History - Travel - America - 8mm
Series title: '415/514' - In part, this work speaks personally to the idea of "home", to the emotional resonances embedded in photographs of place. Here the landscapes of California (415) and Quebec (514) are paired, as mostly diptychs, juxtaposing the two places I was living at the time. In these photographs I am less interested in specific locale (the images are not titled, for example) than in something ineffable. I was initially drawn to the idea that the horizon does not exist in nature, per se, but is purely a visual construct. This work begins with an interest in horizon lines, the strange fact that what you are seeing in terms of composition is not physically there. The series carries forth with its own specific and formal syntax, employing dissonance and resonance as poetic logic.
Key words: People - Identity - Youth - Objects - Portrait - London
By exploring the world at hand, from the basement to the backyard, I have found a resonance in things. An energy vibrates in that space between our perceptions of the world and the potential the mind senses for our interventions within the world. This energy is the source of all true art and science, it breeds those beloved “Ah Ha!” moments and it allows us to sense the extraordinary in the common.
Key words: Experiments - Science - Long Exposure - Fire - Energy - Extraordinary
Landscape are constantly changing which has given an urgency to my need to document this change and record the decisive moment. Common subjects that anyone can see on any given day revealed in an uncommon way will remain my particular aspiration.
Strand belongs to the everyday, yet her images evoke the mesmeric, the talismanic and the unsolvable. Solutions reporting the ordinary often turn up further layers of complexity and reveal problems as yet un-considered. Strand is interested by imagery in which the aesthetic are secondary to function.
Key words: Crime - Documentation - Evidence - Narrative - Everyday - Function - Forensic - Aftermath
From Natural light, to the way light hits the body, and shapes that the body creates, the aesthetic of my photographs is important. The blank expressions on peoples’ faces, fragility in male and females, dream-like qualities, oddities and familiarities in day-to-day life are all important facets of my images. It is as if the shutter was released too early or too late; the moment that was meant to be photographed has gone and we are left with the before or the after. The subjects seem relaxed, at ease in front of the camera yet they also seem as though they are not quite there. It is this suspension of time and space that echoes qualities of silence, absence and stillness. I chose to use Medium format film as it complements the way I work. By the time I have wound the film, metred the light and focused the camera, the subjects have sunk into themselves. It is as if they forget they are in front of a camera, they sink into a relaxed posture, their eyes glaze over; it is this moment that I release the shutter. Capturing an in-between moment and adding to the sense of silence and stillness that resonates throughout.
Carroll’s work includes cyanotypes based on the drawings of Henry Fox Talbot, photographs of hand-drawn camera calibration charts, as well as a large-format photograph produced using a fogged negative; each work representing a “failed” attempt to perfect photographic technologies or to truly master drawing a straight line.
Key words: Darkroom - Experimental - Accidents - Mistakes - Process - Abstract - Memory - Colour - Landscape
copyright, George Tice, Courtesy of Nailya Alexander Gallery, New York
Lottie's work explores how a photograph can show traces of a presence that has once been there. By combining her own and archival photographs, she has identified a relationship between loss and the notion of what once was and will never be. By exploring this idea, she has journeyed through her own personal history as well as experimenting with what she believes shows the notion of absence within a photograph. Following the loss of her father, she has created this series, which challenges the stereotypes that are formed when death occurs.