٠ ‘The Evidence of the Natural’ in Nádia Rodrigues Ribero’s work ٠

© Nádia Rodrigues Ribeiro, Sem título (Untitled) – 11.07.12, from Flora. Negative in chromogenic paper, chromogenic process, unique print 12x9cm. © Nádia Rodrigues Ribeiro, Sem título (Untitled) – 20.07.12, from Flora. Negative in chromogenic paper, chromogenic process, unique print 12x9cm. … Continue reading ٠ ‘The Evidence of the Natural’ in Nádia Rodrigues Ribero’s work ٠

٠ Anne Geene’s natural topography ٠

© Anne Geene, from the series Ornithology © Anne Geene, from the series Ornithology “Geene is not only a keen observer; she is also a patient scholar, arranging the world around her. For instance, in her book, Parcel no. 235. Encyclopedia of an Allotment, 2009 – 2010, she thoroughly observed the 245 square meters of her own parcel no. 235 in the allotment garden ‘Eigen Hof’ in Rotterdam. The microcosm of her allotment became a metaphor for society at large. But what exactly is it that she is categorizing? Is this an objective reality that is universally applicable, no matter … Continue reading ٠ Anne Geene’s natural topography ٠

┐ Ian van Coller └

© Ian van Coller, Daisy Angy Kekae (left), from the series Collage Portraits, 2009 “This series combines several influences that have personally been relevant to my art-making process. The work grew out of my experimentation with the use of quilting techniques based on traditions from Africa and Gees Bend, Alabama as a way to tell stories and record oral histories. The manner in which individuals in these portrait collages are presented, was heavily influenced by posters from the period of resistance against apartheid in South Africa. The union posters are now iconic examples of the strong printmaking tradition that grew … Continue reading ┐ Ian van Coller └

┐ David Halliday └

© David Halliday, Parmesan, 2004, sepia-toned silver gelatin photograph © David Halliday, Pomegranate and Cheese, 200, 0archival pigment print © David Halliday, Spigots & Squash, 2003, sepia-toned silver gelatin photograph © David Halliday, Pomegranate & Corn, 2007, archival pigment print Information about David needs to be updated. Almost everywhere he is described as a traditional photographer working almost exclusively on sepia-toned gelatin silver prints (the exception being a group of platinum prints). I’m happy this ceased to be the case. Although his traditional still life compositions are etherea-like wanders in the realm of simple things I find his awakening for … Continue reading ┐ David Halliday └

┐ Lesley Dill └

© Lesley Dill, Face Pull, 2000 © Lesley Dill, Tongues on Fire, 2001 As a young teen, Dill had a vision, one that she had kept hid den until this project, “I grew up in Maine and had a bedroom window that looked out onto some woods. One morning when I was fourteen and was getting dressed for school, I sat on the bed and looked out the window at the dark leaves against the sky. Somehow, my whole visual screen was suddenly filled with a sort of weblike spiral of images that appeared black on white or white on … Continue reading ┐ Lesley Dill └

┐ Steffi Klenz └

© Steffi Klenz, Untitled, from the series Hewitt’s Heap, 2011 © Steffi Klenz, Untitled, from the series Hewitt’s Heap, 2011 “The first thing we ought to note here is that the German word for the uncanny is ‘unheimlich’. As Freud famously pointed out a century ago, ‘heimlich’, which literally translates as ‘homely’, means two separate things; both familiar and safe, but also secret and concealed. Freud suggests that the logic of the word heimlich develops along its own path until it begins to coincide with unheimlich, allowing him to argue for a proper psychological description of the uncanny as the … Continue reading ┐ Steffi Klenz └

┐ Heidi Kirkpatrick └

© Heidi Kirkpatrick,Mother, 2001 © Heidi Kirkpatrick,Mahjong tiles, 2011 “Portland based photographerHeidi Kirkpatrick uses photographs to transform found objects into playful pieces of art. Her images reveal a view of the world experienced by women and she prints them on film positives which she mounts within or on found objectssuch as vintage tins, blocks, boxes, copper plates, dominos and children’s toys. These wonderfully unique pieces can be handled, arranged and adorned on a table rather than hanging on a wall, allowing each object to possess its own unique interactive charm. (…) Kirkpatrick has struggled with a fair amount of physical … Continue reading ┐ Heidi Kirkpatrick └

┐ Amanda Tinker └

© Amanda Tinker, Untitled (Left Foot #1), work in progress, 2011 Palladium Print 8″x10″ © Amanda Tinker, Untitled (Julian with Peonies), work in progress, 2010 Palladium Print 8″x10″ “My latest work, still in progress, explores the intersection between the psychological landscape of family relationships and the body’s physical form, compromised, intact and otherwise. This work deals both specifically with the physical effects of a degenerative nerve disease in my family, and generally with the anxieties, joys and ambiguities of family life. I want to confront my own anxieties over my children potentially developing a debilitating illness, but at the same … Continue reading ┐ Amanda Tinker └

┐ Gunnel Wåhlstrand └

© Gunnel Wåhlstrand, © Gunnel Wåhlstrand, White Peacocks, 2007/2009 109 x 160 cm, ink-wash on paper “For eight years, Wåhlstrand has worked exclusively with a kind of re-development of private photographs, using black ink and water, a precise and time-consuming technique that she masters to perfection. The earlier body of motives consisted of her father’s family photo album, but has now been expanded to a wider family group. One of the larger works, Mother Profile, is a rendering of a studio photograph of the artist’s mother. In the exhibition, it is placed so that she gazes at the landscape where … Continue reading ┐ Gunnel Wåhlstrand └

┐ Walter Hugo └

© Walter Hugo, Oli Sims, from “reflecting the bright lights” © Walter Hugo, Natalie Darby, from “reflecting the bright lights” “In order to create the portraits, his sitters must stare at a bright light for 10 seconds without blinking, creating an intense and concentrated glare, a glass window into their souls. (…) Can you talk us through the process of making a glass photograph? Ok, I’ll try and simplify this as much as possible as it’s quite a scientific process. The process I’ve developed pre-dates modern photography, it’s from around 1850. First I had to build a camera, in order … Continue reading ┐ Walter Hugo └

┐ Alice Miceli └

© Alice Miceli, from the Chernobyl Project – The Invisible Stain, 2007-10 © Alice Miceli, from the Chernobyl Project – The Invisible Stain, 2007-10 “The project’s ambition is to create a radiographic series of images of the Chernobyl Exclusion Zone depicting the most affected regions located on the Belarusian side of the border. These stunning images are imprinted by the invisible radiation that has contaminated the area since the disaster on 26 April 1986. Requiring the creation of specific technologies, including the development of auto-radiographic techniques and led-pinhole cameras, The Invisible Stain uses new processes in the field of photography … Continue reading ┐ Alice Miceli └

┐ Cathleen Naundorf └

© Cathleen Naundorf, Untitled – Dior, artist’s workshop – Cité Jandelle, Paris © Cathleen Naundorf, Mimi San – Dior, artist’s workshop – Cité Jandelle, Paris “When I decided to photograph 4×5 inches, and even with Polaroid, people asked, ’Are you crazy? Why don ’t you do digital, it takes much less time?’ But, it needs to take time. When you take the time to discover your subject it’s like you’re really meeting. And as you see with my pictures, there is some- thing special inside.” source: VS interview Another gift to the fashion world: Cathleen’s view of the world Continue reading ┐ Cathleen Naundorf └

┐ Richard Mosse └

© Richard Mosse, Vintage Violence, North Kivu, Eastern Congo, from the series Infra, 2011 © Richard Mosse, House Of Cards V, North Kivu, Eastern Congo, from the series Infra, 2011 Against all odds I can’t resist these images, though I am aware that is the process itself that draws me in. “Ask Richard Mosse what first fascinated him about the Congo and he’ll give you a long list. “Joseph Conrad. Tin Tin. The Rumble in the Jungle. The Belgian colonial legacy. The beer. The Ebola virus. A country the size of Western Europe with less paved roads than Ireland. The … Continue reading ┐ Richard Mosse └

┐ Kamile Matulaityte └

© Kamile Matulaityte, The Abduction of Persephone I , from the series Seven Days with my Mother in D1, 2010 © Kamile Matulaityte, Minotaur, from the series Seven Days with my Mother in D1, 2010 Seven Days with my Mother in D1′ is a series of portraits showing an alternative reality of the relationship between me and my mother. My approach has emerged from the everyday domestic situations in which we play certain roles. However, instead of the actual drama the viewer is presented with ludicrous episodes from Greco-Roman mythology with my mother as a protagonist. The tri-colour gum printing … Continue reading ┐ Kamile Matulaityte └

┐ Linda Alterwitz └

© Linda Alterwitz, Untitled, from the series Discarded Dreams © Linda Alterwitz, Untitled, from the series Discarded Dreams “The photographs from the series Beneath the Surface represent the dichotomy of life and death by visually confronting both scientific and ethereal realities. The blending of medical and landscape imageries takes on a comforting sense of familiarity while simultaneously creating tension. Medical imagery viewed on its own merely represents information required to see what cannot be seen on the surface. It reveals truths about the insides of our bodies. Yet more than information, to many, these images can bring about fears of … Continue reading ┐ Linda Alterwitz └

┐ Christina Z. Anderson └

© Christina Z. Anderson, Great Catch, from the series Family of Origin, 2009 © Christina Z. Anderson, Summer Sun, from the series Family of Origin, 2009 “Growing up the youngest in a family of 7 girls and 1 boy was a unique opportunity to be an observer of the social landscape, particularly of the female variety. In 2000 after the death of both parents, I became the archivist for my family of origin’s photographs. This archive includes both black and white and color images from the 1800’s to the 1980’s, about 25,000 images in all. Most of the images are damaged, … Continue reading ┐ Christina Z. Anderson └

┐ S. Gayle Stevens └

© S. Gayle Stevens, Walking, from the series Calligraphy, 2011 © S. Gayle Stevens, Cornucopia, from the series Calligraphy, 2011 Calligraphy: beautiful writing or drawing photography: light drawing taxonomy: the science of the classification of living things Calligraphy consists of a series of wet plate collodion tintype photograms of plant and animal specimens I have collected on my daily walks. Inspired by cabinets of curiosity, my collection contains diverse specimens such as leaf skeletons, snakeskins, wings and many toads, frogs and insects. I have always been inspired by the overlooked and these objects, which would normally be passed over, are … Continue reading ┐ S. Gayle Stevens └

┐ Birgit Jürgenssen └

© Birgit Jürgenssen, Hausfrauen – Küchenschürze, 1975 © Birgit Jürgenssen, Hhne Titel, 1979 © Birgit Jürgenssen, Gladiatorin, 1980 “Other artists of the feminist avant-garde, such as Hannah Wilke, Eleanor Antin and the abovementioned Martha Rosler went even further and were even more radical in their critique on the domestication of women within marriage. With the help of performance, video, installation or photography they protested against a housewife’s fate as a cleaning lady, cook and “prostitute” – as a cheap labour and at any times disposal for the husband. Taking into account that these gender conceptions were widespread cultural and normative … Continue reading ┐ Birgit Jürgenssen └

┐ Koen Huaser └

© Koen Hauser, Untitled, from the series Kosmoz, 2005 © Koen Hauser, Untitled, from the series Kosmoz, 2005 “Kosmoz deals with notions of autism and auto-symbolisation of the self in the portrait genre. Following the visual aesthetics of early psychiatric research, characters were shaped into their self fulfilling appearance by means of digital two-dimensional sculpting.” More of Koen’s work here Continue reading ┐ Koen Huaser └