Caption (image above): lumen on expired 4×5” ektachrome film (by Sofia Silva)


More about Lesia Maruschak‘s work here

Lesia Maruschak: “ERASURE: Memory and The Power of Politics has three points of departure: A practice entitled damnatio memoriae – a Latin phrase dating back to the 4th century BCE – resulting in the erasure of a person’s being; policy instruments approved by the elite leadership of the Soviet Communist Party to eliminate the individual and national identity of the Ukrainian people; and archival photos from that period. Each image represents an offering of meditation and lacrimosa, personal and collective; a history, invisible and unspoken. It is both hopeless and hopeful. The ghosts that inhabit these images – always fragmented and often unknown – point to the duality of beauty tinged with loss, the opposing forces of the frightening socio-political world and the poetry of the land, the people, and the heart – Erasure gives voice to those removed from our history.
The source imagery was reworked and reproduced on to resemble official documentation of the time. The resulting photography-based works were subsequently hand-painted with egg tempera combined with mineral and earth pigments. The final image are handwaxed – an artistic gesture suggesting that no further erasure is possible. “

More about Gabriela Morawetz‘s work here

“With Morawetz, photography enters another dimension. Weightlessness, working in zero gravity appears then as a metaphor for the work of this artist who, disconnected from reality and completely absorbed by an idea that has become an absolute urgency, is ever borne forth by an underlying energy toward an unknown result. This investigation transforms Morawetz into an alchemist grappling with the magic of matter and practical experiments as she moves between her studio and her laboratory. Having come to photography gradually after studying painting, sculpture, and engraving at the Academy of Fine Arts in Cracow, echoes of all these practices remain highly present in her work.” Source:

More about Christopher Mavrič‘s work here

Christopher Mavrič: “Gegenstücke” / “counter-parts” is a series of handmade street photographs printed on ceramic tiles using liquid emulsion. The images show details or close ups of persons I met on the street. I talked to most of them first, but sometimes I didn’t ask for their permission to take a photograph of their hands or belongings.
When I take a picture it may sometimes stay on my mind until I will find its counterpart. This can take only minutes but sometimes weeks or a month.
When the images are juxtaposed they connect to each other by possible causal relationships, their visual similarities or also by the virtual appearance of interpersonal relationships. I like to use photography to unite two persons, things or ideas that would otherwise seem reluctant in the first place. The material carrying the image reveals itself through its flaws and imperfections. When they occur in the right place, they add to the expression of the image connecting its outside with the inside or the medium to the message.
Working with this technique also means that each print will be a unique original that cannot be reproduced or repeated in exactly the same way.”

More about Caroline Roberts‘s work here

Caroline Roberts: “How can I represent something as immense and as ancient as a landscape on a surface that will fit in my studio? Instead of focusing on a dramatic vista, my work seeks you of your own places, your landscapes of the imagination.
I arrange light-sensitized fabric and paper into landscapes reminiscent of the ridges and folds of rock formations or the turbulence of a river’s surface. These temporary topologies are made visible by exposure in sunlight, leaving behind a shadow site, a trace of the landscape-that-was.”

More about Melanie King‘s work here

Melanie King: “I am a visual artist and practice-based researcher at the Royal College of Art. I am interested in the relationship between starlight, photography and materiality. My PhD research project “Ancient Light: Rematerializing the Astronomical Image” considers how light travels thousands, if not millions of years, before reaching photosensitive film or a digital sensor. My main body of photographs “Ancient Light” comprises of a series of analogue photographic negatives and prints of star-scapes, as well as a series of images created using telescopes and observatories around the world. Alongside this body of work, I have produced 16mm films of the Moon and photographic etchings created using meteorite-imbued ink, milled at the Royal School of Mines. I have produced daguerreotypes and world-record sized cyanotypes exploring the relationship with the Sun and photosensitive material. The purpose of my research is to demonstrate the intimate connection between celestial objects (sun, moon, stars), photographic material and the natural world.”

More about Douglas Nicolson‘s work here

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