┐ Rita Nowak └

© Rita Nowak, Zenita Komad, 2004 © Rita Nowak, Venus in Furs, 2005 Starting with an intense engagement with the self-portrait as a genre, two years ago Rita Nowak began reenacting famous masterworks with artist friends. In choosing the works to model, Nowak works associatively in that some works—due to certain gestures and moods—trigger memories of people well-known to her or stand in an “almost magical proximity” to them. A central interest here is what the artist calls the “memory effect”: “from history a voice that tells me something about people from my past.” Her portraits intend neither the perfect, … Continue reading ┐ Rita Nowak └

┐ Lara Jacinto └

© Lara Jacinto, Untitled © Lara Jacinto, Untitled 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 Continue reading ┐ Lara Jacinto └

┐ Tim Roda └

© Tim Roda, Untitled #24, 2004 © Tim Roda, Untitled #138, 2007 “I started using photography, not for the love of the technical aspects of the medium, but because of its properties, both abstract and physical. It is the only medium I can use to best depict my vision of life, art and time. Although the final product is a photograph, the work casually travels within arenas of installation, photography, film and performance. A camera is used to record one moment in time that balances between memories and constructed commentaries, yet is a documentation of “real” events for my wife, … Continue reading ┐ Tim Roda └

┐ Phyllis Galembo └

© Phyllis Galembo, Affianwan, Calabar South, Nigeria,, 2005 © Phyllis Galembo, Okpo Masquerade, Calabar South, Nigeria, 2005 © Phyllis Galembo, Sierra Leone, 2008-2009 “Photographer Phyllis Galembo wants to transform you. What you experience with her photographs of African masks and costumes is not simply another form of virtual tourism.[…] To see these costumes is to be transported inside them. Think of them as full-body masks. They often incorporate and mimic natural materials, such as grass, sticks and feathers. In that sense they emphasise the mediating importance of the costume. Put it on and you enter an in-between world, where the … Continue reading ┐ Phyllis Galembo └

║ Katie Koti ║

© Katie Koti, Tangle, from the series Asunder, 2008-current © Katie Koti, Fall, from the series Asunder, 2008-current “The images in my current project, “asunder”, reflect my continuing exploration of gender and its relationship to sexuality through the means of photography. The landscape works on various levels in my images. I use the landscape to seduce and engage the viewer with its beauty and textures. The landscape also acts as both an ambiguous form as well as a means to speak a shared and tangible language. The viewer can recognize the landscape as part of our world, it is ordinary … Continue reading ║ Katie Koti ║

║ Ellen Nolan ║

© Ellen Nolan, Untitled, from the series Previous Personality, 10th March 2008 © Ellen Nolan, Untitled, from the series Previous Personality, 10th March 2009 © Ellen Nolan, Untitled, from the series Previous Personality, 9th September 2009  ‘Previous Personality’ explores my relationship to my mother as she recedes into dementia. I started photographing my mother and myself when she stopped recognising me as her daughter.The documentation lasted for three years, exploring a journey of reversal and erosion. The title ‘Previous Personality’ is derived from a section in the form I had to fill out for my mother, upon admission to her … Continue reading ║ Ellen Nolan ║

║ Richard Ansett ║

© Richard Ansett, Woman with electric cap #2, from the series Judging a book by its cover, 2008 © Richard Ansett, Sasha, from the series Judging a book by its cover, 2007 “We are a product of our environment, in dress, behaviour and body language. All aspects of personality are shaped by the social and political landscape. The myth of the documentary tradition is that it is truthful but what we see is tainted by personal experience; whilst the locations and people are often ‘real’ the combination of imagery and style are inventions, they are subjective elements brought by the … Continue reading ║ Richard Ansett ║

║ Louise Fago-Ruskin ║

© Louise Fago-Ruskin, Untitled, from the series The Catchers, 2008 © Louise Fago-Ruskin, Untitled, from the series The Catchers, 2008 “My current practice stems from an abiding interest in psychological and philosophical disciplines. Committed to exposures of the psyche, the camera is deployed as a tool by which the unconscious may be unlocked thus enabling significant emotional and mental shifts. The private nature of the photographic studio enables certain revelatory actions, unveiling previously concealed truth. A crucial element of ritual in my work seeks to facilitate transformative procedures, gaining inspiration from Richard Schechner’s theories on symbolic time and processes inherent … Continue reading ║ Louise Fago-Ruskin ║

║ Jessamyn Lovell ║

© Jessamyn Lovell, Family, 2003 from the series Catastrophe, Crisis and other Family Traditions © Jessamyn Lovell, Klare Not Listening, 1999 from the series Catastrophe, Crisis and other Family Traditions © Jessamyn Lovell, Mommy with phone, 1999from the series Catastrophe, Crisis and other Family Traditions “There is something about my family that brings me back. I just don’t want them to forget about me out here.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 … Continue reading ║ Jessamyn Lovell ║

║ Amy Montali (Group Portrait – part V) ║

© Amy Montali, Martin, Palmer and Nora, 2003 © Amy Montali, Erin in the blue room, 2004 “These portraits and narrative fragments are produced with a large-format view camera, which requires a slow and formal approach. However, I try to shoot spontaneously as though I am on the street or at a birthday party. I like to fuse the seductive power of studio photography with the energy and emotion of a snapshot. The work is often collaborative and always improvisational. I choreograph scenes of varying complexity in order to explore real and fictitious relationships and to consider such subtexts as … Continue reading ║ Amy Montali (Group Portrait – part V) ║

║ Julie Blackmon (Group Portrait – part IV) ║

© Julie Blackmoon, Saturday, from the series Domestic Vacation, 2005 © Julie Blackmoon, Dinner Party, from the series Domestic Vacation, 2005 “I am the oldest of nine children and now the mother of three. In these photographs, I have explored the life of my family and the lives of my sisters and their families at home. These images are not documentary, but, in various ways, a re-creation of everyday moments that reflect not only our lives today, but as children growing up in a large family. The stress, the chaos, and the need to simultaneously escape and connect are issues … Continue reading ║ Julie Blackmon (Group Portrait – part IV) ║

║ Sage Sohier (Group Portrait – part III) ║

© Sage Sohier, Laine trying on Mum’s evening dresses, Washington D.C., 2004 © Sage Sohier, Pat and Mum discussing my haircut, Brookline, 2004 “This is a series about my mother as she ages, and my relationship with her, that I began to work on in a concerted way in 2000. For a brief period in her youth, my mother was a model, photographed by Richard Avedon and Irving Penn, and once on the cover of LIFE Magazine. As a child, I grew up as a witness to her beauty: I used to lie on her bed, with the dogs, and … Continue reading ║ Sage Sohier (Group Portrait – part III) ║