┐ Hallgerður Hallgrímsdóttir └

© Hallgerður Hallgrímsdóttir, Untitled, from the project the light of day, 2010-2011

© Hallgerður Hallgrímsdóttir, Untitled, from the project the light of day, 2010-2011

© Hallgerður Hallgrímsdóttir, Untitled, from the project the light of day, 2010-2011

© Hallgerður Hallgrímsdóttir, Untitled, from the project the light of day, 2010-2011

More of her work here

┐ Nuno Direitinho └

© Nuno Direitinho, Untitled, from the series Backbone

© Nuno Direitinho, Untitled, from the series Backbone

© Nuno Direitinho, Untitled, from the series Backbone

“The work aims to set up a dialogue between truth and deception in representation through the context of photography. I look for the juxtaposition between images and their contextual settings, aiming to explore the feeling of absurd that often occurs at this meeting point. The tension between the engaging qualities of colour and the eeriness of raw topics often invades the work, reacting to the latent mutation of spaces, apparatuses and trends of society. This play of metaphors occurs in a kind of push and pull between natural hypothesis and the furtive naturalization of spaces.”

More of Nuno’s work here

┐ Raquel Mendes └

© Raquel Mendes, Untitled, 2006

© Raquel Mendes, Still Life I, 2007

How often do we speak of nakedness as if it were a kind of truth, the naked truth? “Why do those who abandon clothes to pursue their leisure and recreation call themselves naturists? Are nakedness, nature and truth inseparable? Stripping naked, Georges Bataille wrote, “offers a contrast to self-possession, to discontinuous existence, in other words. It is a state of communication revealing a quest for a possible continuance of being beyond the confines of the self. Bodies open out to a state of continuity through secret channels ….” In nakedness we dream of reunion with all that is non-self. You and I and nature will fuse into a singular truth. Paradise Regained.

pre·lap·sar·i·an (prē’lăp-sâr’ē-ən) adj. Of or relating to the period before the fall of Adam and Eve. Nakedness here is self-consciousness, and the penalty is human conflict. And I will put enmity between thee and the woman, and between thy seed and her seed; it shall bruise thy head, and thou shalt bruise his heel.

Paradise Lost. Let’s not pretend that we know and understand each other’s needs, wants and desires, but let’s live with the consequences of our distance and differences. It’s all we have.

If paradise is half as nice as heaven that you take me to
Who needs paradise, I’d rather have you.

excerpt from John Calcutt’s text

More of Raquel’s work here and here

┐ Peter Finnemore └

© Peter Finnemore, Miffin in the wallpaper, from the series Dark Light (Gwendraeth House), 2010

© Peter Finnemore, Night Veil, from the series Dark Light (Gwendraeth House), 2010

“Houses are commodities, homes are souls. Began in 2003, this substantive, distinct and current chapter of the Gwendraeth House project comes under the title of Dark Light. Here, through photography I divine the house’s interior. Its habitual space becomes a compact manifold; it is without boundary. This stone house is a breathing entity; light, air, décor and companionship nourishes’ its well-being. It is a stationary stone ship, an enclosed deep time capsule; occupying both physical and unconscious dimensions. These latest photographs become a collaboration with this habitual entity, allowing it to guide the manifestation of images. Gwendraeth House as a spatial dwelling becomes an instrument of measurement, a stone, bricks and mortar astrolabe to chart the universal interior.”

The work of Peter Finnemore can be seen here

║ Benjamin Orion Rush ║


© Benjamin Orion rush, Kelvin, from the series Field Notes: Statements & Sketches


© Benjamin Orion rush, Kelvingrove Hall, from the series Field Notes: Statements & Sketches

“New England-born artist Benjamin Rush presents selections from two new ongoing bodies of work in “Field Notes: Statements & Sketches”. Central to the exhibition are images created in museums, libraries, and galleries both in the US and overseas. With a large format camera he seeks out surreal compositions of not only the display of these institutions, but also of these authoritative spaces in states of undress and change. The images stem from Rush’s fascination with the idea of knowledge, and the governance that possesses, frames and presents it.

The “Sketches” portion of the exhibition appear as selections from a body of 170-and-counting images that Rush has taken with a 1960’s Polaroid Land Camera. Rush says: “My life these past few years has been very unsettled and hectic, this more casual approach to image-making keeps me considering my environment. I’m always fascinated by how things look as photographs. I was curious how my interests and aesthetic might become evident without any particular intent across a large group of images taken over many years.”

These images describe Rush’s connection to the art and history of photography on many levels. “Frankly, I sometimes wonder if I’m just addicted to the way this particular process smells and behaves, ” he says. “Obviously it’s almost immediate but, unlike digital, when you peel the print open – the print is wet and fragile for some time, it’s a very tactile experience”.”

Source: Dakota Ridge Gallery

To see more of Benjamin’s work click here

║ Nadja Bournonville ║


© Nadja Bournonville, Untitled #3, from the series Amor Omnia Vincit


© Nadja Bournonville, Untitled #20, from the series Amor Omnia Vincit


© Nadja Bournonville, Untitled #19, from the series Amor Omnia Vincit


© Nadja Bournonville, Untitled #15, from the series Amor Omnia Vincit

“The study of personality presents many beautiful ambiguities as it opens up a limitless landscape of interpretative possibilities. For example, are there a finite number of stable enduring monolithic building blocks of personality in the neurological connections of our brain, identified as traits and constituted by our genetic inheritance, that predict our behaviour regardless of situation? Or are we individually so unique, so phenomenologically idiosyncratic, that to understand personality we have to explore subjective experiences? If so, are all attempts at population generalisation through psychometric gymnastics essentially futile? Maybe it makes no sense to think of personality residing within the mind at all but rather personality is constructed in the language that we use on a day-to-day basis. Alternatively, is the driving force of personality the universal unconscious urges and motivations of existence that if realised unambiguously lead to the annihilation of the human race? These are just four well evidenced, highly respected and sometimes controversial approaches to personality and they produce infinite options when searching for explanations of behaviour. While ambiguity has a controversial place within modern psychological theory, not least because one important goal of work in this area is to produce solutions, alleviate suffering and ameliorate pain and distress, ambiguity is celebrated within aesthetic epistemologies and here beauty is also constructed along an infinite number of ambiguous dimensions.

Bournonville, like a psychologist, presents constructions of personality. Not complete comprehensive structures, but rather she opens multiple seams, narrow and endlessly deep; multiple seams of fundamental personality dilemmas. These dilemmas are interrogated and problematised in such away that we are invited to explore our feelings in response to these elemental questions. Whether these feelings are conscious or not there is no escape from the Faustian Gretchenfrage provoked by the images. An obscured face looking upwards towards a symbolically and complexly textured background. Curtains opening and possibly beckoning us to trust our uncertain feelings of attraction and begin a journey, a drama, where passion, trust and hope have significant roles to play(…)”

Raymond MacDonal (to read the full text click here)

To see more of Nadja’s work click here