Caption (image above): therapeutic photography + scanography (by Sofia Silva).

More about Enoc Perez‘s work here. 

Enoc Perez’s new photo collages engage with social media, appropriation, and the artist’s consistent and inventive search for new forms. Sourcing images from the internet of minimally dressed or nude women, from amateur selfies to more professional photos, Perez adds hand painted and cut collaged forms to both obscure and enhance the picture.
The cutout shapes function as censor’s marks – thwarting our ability to see the original image in its entirety while making it all the more attention-grabbing and voyeuristic. At the same time the collaged bits make it into a happy game, playful colors and forms replacing a need for more visual information and reminding the audience of the artist’s role in directing and delivering fresh ways of seeing..
Source: Danziger Gallery.

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More about Hayley Warnham‘s work here. 

Hayley Warnham about Everything is Beautiful: I really love old Black & White photography, and I particularly loved how all the photos were square rather than rectangular. I worked digitally so not to damage the original photographs, and I wanted to inject a sense of life and atmosphere into them. I had the idea to overlay vibrant colours and textures to highlight particular elements of the photograph and the first piece I created (and my favourite) was with the pigeons, I feel it truly captures what this series is all about, how when you start to take notice, everything really is beautiful..
Source: Fused.

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More about Tamara Lorenz‘s work here. 

Sabine Elsa Müller about Tamara Lorenz‘s work (excerpt): The creative process in the practice of Tamara Lorenz is reminiscent of scientific or philosophic experimental design. It is at any rate not in the sense of positing art’s exclusive claim over creativity. What counts is the individual in their pursuit of gaining knowledge. Art, photography, and sculpture form close, mutually productive relationships in her expanded understanding; architecture, film, and music also play an important role as categories of design, and — last but not least — language.
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The constructions that Tamara Lorenz depicts or represents in her analogue photographs are models […] whose existence serve only the ontogenesis of the powers of perception, thinking, and memory.
The new photographs [referring to the series Real Substrakt] show a clear position at first glance as well, which condenses into a logically incomprehensible complexity. To look at them means to watch oneself looking. Lines align in the deep space and fold back to the surface to suddenly thrust forward out of the image again. Surfaces become solids and then again a hollow form closed on four sides, whose strict limitations playfully cross the filigree lines of a room drawing. As is fitting for models, the staged lighting contributes much to the disconcerting turning point between three-dimensional physicality and a planar surface. It seems to come from the space in which it is viewed and from the image itself simultaneously.
Perspective, distances, proportions and weight, dematerialization, and haptic tangibility at resistant open edges — the compact, stage-like sets convey a merging of different layers with unclear allusions that is not verifiable in reality. The reference to reality is there, but fragmented into countless tiny parts like in a kaleidoscope. The photograph generates its own media-based reality analogous to the paradox of objectivity. And apparently this parallel world simulates reality in a form that offers the brain plenty of fodder for reflection and perception: as before it we stand amazed, all our senses captivated. We plunge into an adventure that only offers imagination.
Continue reading here.

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More about Liz Nielsen‘s work here. 

The analog color darkroom is a magical place where a pitch-black environment allows only the vision of the mind’s eye. There, and without the use of a camera, Liz Nielsen creates unique photograms by building her own negatives and ‘painting with light’.
The way she works in the darkroom is like a musical performance whereby, mixing colors and harmonies, Nielsen creates new gradients. Working with pure color and the edges of each color within the spectrum, Nielsen adds and subtracts wavelengths, playing with diffusion and refraction. Nielsen’s negatives resemble flat sculptures with moveable parts into which she pours light. To create them, she cuts out transparent shapes and takes apart handmade cardboard puzzles, then reassembles the different forms in the darkness, layering them in a precise way to allow for multiple exposures on light-sensitive paper. Each piece thus requires much planning yet as controlling light is very difficult, surprises always emerge.
Physically moving around the paper as she exposes it, Nielsen variously uses flashlights, bike lights, laser lights, cell phone lights, an enlarger and toy lights to compose and create her images. With so many variables in the process, it is impossible to create the same image twice, making each photogram unique. The paper chosen for her work is important and Liz prefers Fuji papers, either Lustre or FujiFlex – the latter in particular thanks to its ultra shiny surface “that is so reflective it looks like liquid. It appears to accentuate the transparency of the colors, making them seem to exist both deep inside the paper and on its surface.”
Source: Next Level Gallery.

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More about Mariah Robertson‘s work here. 

Highly aware of our technology-saturated world, the images Robertson creates typically have a nostalgia that, at first, seems to hark back to a slower, pre-digital era. Using photographic paper, often at a monumental scale, her darkroom experiments utilise analogue techniques now in their demise to create a synergy between chance, luck and her highly-considered methods.
Robertson manipulates the tools and materials of the photographic process to capitalise on their inherent strengths and weaknesses. She uses photographs, photograms, colour separation, oversaturated hues and exposes objects directly onto the paper, bypassing the camera lens. An array of chemical drips and mishaps are also used to ‘paint’ the photographic surface. Collageing disparate elements onto irregularly cut photographic paper, Robertson layers them into a single composition to create what she terms an ‘impossible’ image. The elaborate compositions, lush with colour, include both representative and abstract images; recent motifs include palm fronds, male nudes and grids. However, her works are as much about the process of making as they are the interplay between different images and sources.
Source: Baltic Plus.

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