FILM
all images are © the artist unless otherwise noted
Alan Cohen
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
Alice Hargrave
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
Amanda Marchand
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.
Anna Victoria Best
Key words: People - Identity - Youth - Objects - Portrait - London
Bert Teunissen
Bill Jacobson
Caleb Charland
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
Chris Faust
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.
Clare Strand
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
Daniel Shipp
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Botanical Inquiry 2014-2015
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Bags
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'Botanical Inquiry is a series of photographic dioramas that shuffle nature, geography, and physics into familiar but fictional environments. In these compositions the physical characteristics of the unremarkable plants I have collected become storytelling elements which, when staged against the backdrop of common urban environments, explore the quietly menacing effect that humans have on the natural world. From a subjective and ambiguous point of view we witness the plants ability to adapt and survive. By manipulating the optical and staging properties of photography with an analogue machine that I have constructed, I have produced these studio based images in camera rather using Photoshop compositing. They rely exclusively on the singular perspective of the camera to render their mechanics invisible.' Daniel Shipp
David Stewart
I shoot on a large format camera (8 x 10 or 4 x 5 film) and this can bring a heightened sense of reality to the images. This becomes even more apparent when printed large scale for exhibition. The details are clearer and become more important. Shooting on Large Format is the way I have always worked. It involves thinking more about what you are about to shoot and then trusting your instinct. With no Polaroid or instant digital image to work with, the pre planning and thought leading up to the shoot is transmitted to the first shot. Shooting in this way can produce a staged image, however in the book "Teenage Pre-occupation" it is the subject matter that gives the resulting images a more naturalistic quality, and ultimately the impression of social documentation.
Eleanor Hemsley
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.
Eric William Carroll
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
George Tice
copyright, George Tice, Courtesy of Nailya Alexander Gallery, New York
Gerald Slota
Jason Engelund
Joseph Dankowski
Ken Rosenthal
Lottie Howard
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.
Mauricio Alejo
Familiar objects have their place in our surroundings and they seem to fit in a natural map of the world. What I do is to bring them to a new narrative which doesn't obey their functionality; It mostly obeys to a specific intuition I have about space, time, materiality, displacement or physical force.
Most of my pieces come from thoughts that are not yet formed as an idea. The results, devoid of explicit meaning or metaphor, point in every direction. The psychological remanent created by the violence inflicted on this narrative sometimes presents itself as absurdity but this is just a byproduct of what, it really is, a primal, somewhat idiosyncratic, experience of the world.
Most of my pieces come from thoughts that are not yet formed as an idea. The results, devoid of explicit meaning or metaphor, point in every direction. The psychological remanent created by the violence inflicted on this narrative sometimes presents itself as absurdity but this is just a byproduct of what, it really is, a primal, somewhat idiosyncratic, experience of the world.
Paul Clark
Pierre Folk
Born 1986, in eastern France. My works explore human society, with a particular emphasis on man’s conflicting relationships with his surroundings. Without defending a Manichean view, this research takes form of visual narratives but is not of a documentary nature. If a photography series naturally becomes a document, my intention focuses more on perception and the way these places are a reflection of ourselves. By the silent line illustrates how the remains of our urban habitat transformations drift through time and questions the permeability between their past and future uses.
All pictures are made through large format photography using a view camera and colour negatives.
Popel Coumou
Richard Koenig
Robert Mapplethorpe
William Eggleston
