Tina’s work here
As far as the public eye goes, this is our (Portuguese) new emerging photographer. Her images, on the realm of the documentary, have a lot of presence; they reveal intimacy and good awareness of the surroundings. Although not having a strong conductor, I’ll dare to say the thread amidst her work is the stylization of memories, absence, the loss of, the non appropriation of reality and non interference with its time.
More of Lara’s work here
«Loss is the heart of my work; specifically the transience of childhood and how memories of that short period shape the rest of our lives. When my son was born, I felt driven to document and preserve his life in photographs but gradually realised he was more a mirror than a subject and I was actually restaging episodes and conjuring feelings from my own childhood rather than immortalising him as I’d intended. And maybe all photography works with way. Perhaps we are sutured into every snapshot we take and every picture is a self-portrait in disguise and even within the ‘happiest’ moments lurks a subtext of void and artifice.
The photographs themselves incorporate a unique non-digital process which combines traditional film photography with cinematography, the intention being to give these ‘still’ pictures a vaguely narrative quality that I hope speaks about love, loss and memory. In Portuguese, the word is ‘saudade’– a love steeped in sadness, ‘to feel what no longer exists’. By definition, that is what photography does–to stop time, fend off oblivion, allow us to feel what no longer exists– to remind us of what we have lost or have never had.»
More of Robin’s work here
© Rebecca Veit, Cookie Crumbs, from the series Europe and In Between, 2004
© Rebecca Veit, Oats, from the series Prim & Pink, 2003
More of her work here
© Magdalena Fisher, Untitled, from the series Neue Tage
© Magdalena Fisher, Untitled, from the series Neue Tage
To see more of Magdalena’s work click here
© Susan Worsham, Lynn watching Dr. Phill, from the series Some Fox Trails in Virginia
© Susan Worsham, Hearse in my childhood driveway, from the series Some Fox Trails in Virginia
© Susan Worsham, Untitled, from the series Some Fox Trails in Virginia
“This series of photographs is taken in and around Virginia, the place in which I grew up. The title comes from a book written by my father’s ancestor, to show the lineage of the Fox family in Virginia. For my own purpose, it acts as a metaphorical map, of the rediscovered paths of my childhood home.
At the age of 34, I came back to Virginia to care for my mother, who died shortly after my return. As the last of my family passed, I turned my lens to old friends, and their new families. I photographed the house in which I grew up. The man that lives there now houses snakes in my father’s old office, and rests them in my old bedroom, while he changes their cages. My mother always promised that there were no snakes in my room, and now that she is gone, there are. A hearse sits in my childhood driveway, representing the passing of my father, and suicide of my brother.
These photographs are not meant to be purely autobiographical, but rather representations of how I view things, based on my own experiences, and those of the people that I have met along the way. My boyfriend Michael, stands on the street I grew up on, bridging the gap between past and present. Lynn, the first stranger that ever sat for me, continues to pose for me, along with her son Max. I have been photographing her for sixteen years now.”
To see more of Susan’s work click here
© Peter Fraser, Untitled, from the series 12 Day Journay, 1984
© Peter Fraser, Untitled, from the series 12 Day Journay, 1984
“I see photographs everywhere, like everyone else, nowadays; they come from the world to me, without my asking; they are only ‘images,’ their mode of appearance is heterogeneous…I realized that some provoked tiny jubilations, as if they referred to a stilled center, an erotic or lacerating value buried in myself (however harmless the subject matter may have appeared)…” So writes Roland Barthes, pointing out the way in which we have learned to see “photographically,” to frame, to snap, to make our memories into fragmented images to be recalled (or not) as though appearing in a mnemonic scrapbook. The accumulated mass of the world appears as a heterogeneous fabric of multi-colored threads, a tiny percentage of them glistening, glancing toward the eye of a beholder, provoking “tiny jubilations.” Fraser seeks these shudders, behaving as a convalescent drunken child charmed with the sparkle of even the most pedestrian things, unwilling to posit any hierarchy of value between, say, the hue of a lumpy red suitcase and the intricate scaffold-structure of a communications satellite. To borrow a term from Russian structuralism, Fraser is in the business of “making strange,” not because he is endowed with any secret transformative touch but, rather, because he sees strangeness itself as the most natural thing in the world.
Johanna Burton, New York, December 2003
To see more of Peter’s work click here
© Javier Marquerie Thomas, Beltrán, from the series Flight of Fancy, 2007
© Javier Marquerie Thomas, Vivian, from the series Flight of Fancy, 2007
“Flight of Fancy; to daydream.
Between the impetus of infancy and the inertia of maturity. “The best years of our lives”. Years envied, idealized, over rated. An extensive cloud of anecdotes. An accumulation of memories without a clear continuity. In retrospect, a “phase”. During puberty, we are conditioned to successfully confront the “real world”, but instead we live in a disoriented fantasy; hybrid between something that really has been and a tale.
My mother tongue, apart from Spanish, is English which lead me to being an English teacher. A few years back one of my classes was with two businessmen. We had one-hour classes, twice a week. I was twenty, they were sixty; married, with children and one of them with grandchildren. I was going home to a mattress on the floor and pending bills to pay. The irony of this all seemed somewhat funny, mostly however, it saddened me. Not because of the mattress, this I liked, but because of the realisation that I was now a grown-up. From one day to the next that desire for maturity had turned into something tangible and the image I sought of my self was no longer so pleasant to carry.
Flight of Fancy is a catalogue of characters, fictions conceived as sociological documents of a transformation period. After that leap towards utopia: that is adolescence, we land by inertia into a scripted role, only to find a fiction completely alien to out smattering of adulthood.
Inevitably, in the current, we remain.”
Javier Marquerie Thomas
To see more of Javier’s work click here
© Andreas Weinand, Julia und André, from the series Finding Oneself, 1990
© Andreas Weinand, Gero und Olli, from the series Finding Oneself, 1989
© Andreas Weinand, Anna und Gero, from the series Finding Oneself, 1990
“While reflecting on my own youth, the cycle Finding Oneself developed from 1988 – 1990 in Essen. The philosophy of life held by the people I photographed during this time reminded me in a way of my own philosophy as a young person in the ’70s, that of not seeing in society a chance for one`s future. The protest of not conforming to society`s conventions, as they were at that time, is an issue I felt also existed amongst the people I met while photographing Finding Oneself.
But as this work developed, I became aware of my own subjective interpretation of the situation; I could no longer compare the lifestyle of those represented in Finding Oneself with that of my own youth. Rather, I recognized that I looked at their lifestyle with the eyes of an adult. My youth had been more than 10 years prior. Out of this tension between sympathy and distance I developed my photographic message.
Both works deal with the question of the identity of the individual within a community. The people in both groups are looking for social contacts. They develop habits and demonstrate their outlook on life. One can say that the individuals and families from Deutsche Volksfeste adhere to a set of rules created for them by previous generations and help to convey those rules0 and codes of behaviour to future generations. Simply said, the people from Finding Oneself oppose the principles and manners given to them by their upbringing. They create a way of living that demonstrates their rejection of social values. In living out this rejection, they create other rules and codes of behaviour.”
To see more of Andreas’ work click here
© Vardi Kahana, Yael, Safed, from the series One Family 2007
© Vardi Kahana, Tal R, Copenhagen Denmark, from the series One Family 2004
© Vardi Kahana, Cousin Rina, Groningen, Netherlands, from the series One Family 2004
To see more of Verdi’s work click here
More of Antonio’s work can be seen here
“I began photographing Edith and Leonard Crawshaw shortly after they moved from their flat into a Welsh nursing home. Following a broken hip and an extended hospital stay, Len required more care than than he had previously. That combined with problems such as negotiating stairs, the occasional burned saucepan and Edith’s failing eyesight, finally led to the move. Len went from the hospital straight to the nursing home, and Edith went with him. At ages 93 and 92 respectively, Edith and Len then found themselves spending the vast majority of their day in their one room at the nursing home, where they would sit together, eat together and sleep together.”
© It’s worth reading (besides seeing) everything about this work.
More of KayLynn’s work can be found here
Source: The New Yorker
Her photographs can be seen here .
Whether it is an awkward public interaction, unreal crisis, or moment of social disconnection, ordinary life is full of abrupt occurrences that create discomfort and isolation. It is often shocking and painful to discover how unsympathetic and harsh the world can be when we fail. The consequences of our transgressions, however small, leave us feeling inept and alone.
The photographs I create are all constructed scenes inspired by my own encounters with this fear and failure. My interest is focused on these breakdowns of everyday life and the subsequent relationship with defeat. The sad humor and vulnerability in the situations I stage allow viewers to identify with the character I portray. In exposing my own shame and seclusion, I am giving name to the anxiety that plagues us all. The images then serve not simply as an illumination of the feeling of embarrassment, but as representations of undisguised human nature.”
More of her work can be seen here.
“I made this work partly in response to a period of illness brought on by the HIV. I thought that it might be time to thinks about how the virus affects my life…”
To view more of Sunil’s work click here.
“These photographs depict the lives of my father, sister and two brothers, as they take on the burden of my mother’s deteriorating mental state. This work represents an extended look at the physical and emotional currents within their home to question the sanctity of family life and domestic comfort.”
To vie more of Lisa’s work click here.
from the series Catastrophe, Crisis and other Family Traditions
I keep photographing the same place, the same people again and again. Roll after roll goes through my camera and so many questions still go unanswered.
I can’t imagine my life without this project, but I can sense what it used to be is slipping away. I feel myself returning home only to find that everything’s changed.
I think back to when I lived there and took care of them. Now I have to take care of myself. This project keeps them with me.
When I return home, I become overwhelmed with how familiar it all is, even though so much has changed. I remember a piece of myself as soon as I walk through the door. I haven’t come back to photograph, not really. What I want is to be close to them.
I want to go home.”
To see this full body of work click here.
(from the Anhava Gallery)
To see more of Jari’s work click here.
To know more about this project or Amy Elkins’ work click here