┐ Meryl McMaster └

© Meryl McMaster, Sentience, from the series In-between worlds, 2010

© Meryl McMaster, Viage, from the series In-between worlds, 2010

In-Between Worlds explores the mixing and transforming of my bi-cultural identities – Aboriginal and Euro-Canadian – and addresses the idea of liminality; of being betwixt and between cultural identities and histories. The series presents a sequence of moments that appear out of the ordinary and can be interpreted as being in a state of suspended belief. Talisman and prop-like sculptures become extensions of the body that suggest a collaging of identities. In-Between Worlds is a dialogue in which the viewer questions him or herself and the world in new ways.”

More of Meryl’s work here

┐ Simone Donati └

© Simone Donati, Angela, Angelo and their 3 daughters having breakfast in the kitchen-living room made from an old stall. This is a temporary place before their new house will be ready, from the project Valley of Angels

© Simone Donati, The three sisters, Hybla, Lua and Siria, outside the new house, from the project Valley of Angels

© Simone Donati, Angelo setting up a cartoon on the computer for Hybla to watch, from the project Valley of Angels

“Angelo and Angela have lived together in South-Eastern Sicily with their daughters Hybla, Lua and Siria, since 2005.
They chose this place to build their home and their life. A simple life.
They chose to be careful about the food they eat and the education they give their children who were all born at home.
With the same convictions, they use alternative energy sources (such as wind turbines and solar panels) that allow them to live independently of a mains electricity supply. They only buy organic and locally grown food.
Getting to know them on a daily basis turned into a genuine co-existence, and I was immersed in their strong dedication to this life project and their daily commitment to it.
The awareness of living a revolution is transformed into deeds and actions of hard work.”

More of Simone’s work here

┐ Karen Miranda Rivadeneira └

© Karen Miranda Rivadeneira,

© Karen Miranda Rivadeneira,

“Through the stories I have collected of my childhood memories, I decided to honour my heritage and follow the path of a Yachaj. A Yachaj is a healer, half jaguar/half human, a medicine person, a shaman.”

More of Karen’s work here

┐ Sylvie Bonnot └

© Sylvie Bonnot, Untitled, from the project Corps du Dessin, 2010

© Sylvie Bonnot, Untitled, from the project Corps du Dessin, 2010

“Je me pose la question du toucher et de l’empreinte.

Mes Dessins de Papier sont mes pierres et mes icebergs ; les photographier c’est vivre un autre contact physique avec les lieux et avec l’instant des prises de vue.

La construction, le dessin de ces papiers impose un rapport direct, physique, élémentaire avec le support. La feuille de papier d’emballage se désincarne de sa fonction première, de son statut initial pour devenir matière “consciente” au sens où la forme finale est délibérée. Elle n’exclut pas le hasard ni l’accident, mais les gestes s’orchestrent de façon cohérente, quasi méthodique. Il en ressort une logique d’écriture. L’empreinte des lieux devient à mes yeux évidence.


Full text here

More of Sylvie’s work here

┐ Anna Brennan └

© Anna Brennan, Untitled, from the project A Framework, ongoing

© Anna Brennan, Untitled, from the project A Framework, ongoing

“My images explore the idea of a social fabrication. I’m interested in how society seems to have become a cultural construction; how we are each somehow modelled into ourselves, entirely influenced by unseen precepts as we become ‘individuals.’ The notion that we are observed so commonly as a statistic, or a unit other than a person is central. Through my work I am attempting to portray the human as an article, an outer shell indifferent to the objects I place it beside. In these particular images I use the concept of a concealed space, an ambiguity running throughout to suggest a hidden depth or hint towards an underlying and undisclosed significance of each object.”

More of Anna’s work here

┐ Nikita Pirogov └

© Nikita Pirogov, Sofa, from the project The Other Shore

© Nikita Pirogov, Hands, from the project The Other Shore

© Nikita Pirogov, Semeon, from the project The Other Shore

The Other Shore is a media project that is in progress and which I have been working on for three years. It consists of photography, video based on the idea of slow-motion, performance, with its accompanying soundtrack, and work with space and objects. Ideally this would be a round exhibition space with several entrances (or one in the floor, as in a lighthouse), around 100 photographs hung in a particular order but without a concrete ‘beginning’ or ‘end’ to the exhibit. Each photograph is self-contained and expresses its own meaning, but in combination with the other images creates further ideas, as letters make up words. The photographs will be laid out as a mosaic and together with the video will express a hidden wave formation. The video sets the tempo and brings the whole piece to life, bringing time into the equation. The sound recording (the whistling sound that is created when cold and warm streams of air meet between doors) adds further effect that functions non-verbally and emphasises the sensation of the Other. The objects — everyday items — also carry meaning in the idea of materialism and our unavoidable involvement with time (and the time in which the exhibition is taking place). The performance will be executed by a girl dressed in a white dress, who will walk around the visitors and interacting with the exhibited objects.

Nikita’s work can be seen here

┐ Klaus Pichler └

© Klaus Pichler, Untitled, from the series Skeletons in the closet, 2008-2011

© Klaus Pichler, Untitled, from the series Skeletons in the closet, 2008-2011

“It all started when I happened to catch a glimpse through a basement window of the museum of natural history one night: an office with a desk, a computer, shelves and a stuffed antelope. This experience left me wondering: what does a museum look like behind the scenes? How are exhibits stored when they are not on display?
I was intrigued by these questions when I started to work on this project after being granted permission to take photographs on museum premises. Due to the sheer size of the museum (it covers an area of 45.000 square metres!), this series soon turned out to be a long term project. I started to focus on the less well known departments of the museum and their contents. Therefore, the focus of this study is not on the exhibition spaces of the museum of natural history, but on the space behind the scenes, particularly depots, cellars, and storage rooms assigned to individual departments which are generally not accessible to the public. These spaces are used for the storage of countless exhibits belonging to various collections, sorted following a rigidly scientific classification system, but also taking into account the limited storage space available.
As a photographer with limited knowledge of scientific research methods, the museum’s back rooms presented to me a huge array of still lives. Their creation is determined by the need to find space saving storage solutions for the preservation of objects but also the fact that work on and with the exhibits is an ongoing process. Full of life, but dead nonetheless. Surprises included!”

Klaus’ home here

┐ Daria Tuminas └

© Daria Tuminas, Untitled, from the series Ivan and the Moon

© Daria Tuminas, Untitled, from the series Ivan and the Moon

© Daria Tuminas, Untitled, from the series Ivan and the Moon

“Ivan is the elder, he is 16. Andrey, nicknamed Moon, is the younger, 14 by now. The two brothers live in a distant village in the northern part of Russia. They are not like regular teenagers, and live in a fairy tale world, yet deeply connected to nature: they go hunting and fishing, can use a joiner’s chisel, play with ghosts at abandoned places, do not want to move to a city, and love nature. Mature and childish. Naive and enigmatic. In this ongoing project I want to show the mysteriousness of the world of these brothers.

The narrative in ‘Ivan and the Moon’ is neither chronological nor event related. It does not have a strict and one-way-to-read plot. All the images are connected to each other on the level of correlated motives and on the level of hypothetical story interpretations. Each picture is supposed to provoke some inquiry about ‘What is going on?’

Moreover, the two brothers are reflections of each other. Many people might even think that they are twins. The main corpus of works contains their individual portraits, so that it is no longer clear who is who. It was also important to show that the world around the boys is itself magical and their games and fantasies are consequences of being a part of this world.

My aim is to follow the brothers through their life (I met them at a folklore expedition) and ‘document’ things that are impossible to document: the world of a boy’s fantasies, ghosts, gods, spirits of specific places, magic itself. Such things usually can not be literally depicted. As J. Szarkowski stated in his famous work ‘Mirrors and Windows’: ‘most issues of importance cannot be photographed’. My goal is to try to photograph the ‘unphotographable’ side of the matter and challenge some formal criteria of ‘classical’ documentary.”

Ivan and the Moon can be seen here

“Finding one’s voice isn’t just an emptying and purifying oneself of the words of others …”, he said

┐ Gillian Mairi Alexander └

© Gillian Mairi Alexander, Woman with Strawberry Laces for Hair, 2011

© Gillian Mairi Alexander, Of This Earth, 2011

© Gillian Mairi Alexander, Dusting, 2011

Installation view:
The Icing Table, Dusting, The Crowning of The Cake Princess and Of This Earth, Glasgow School of Art Degree Show 2011

“Long has been my adoration for cake. Our relationship formed through its habitual presence at joyous celebrations and its pacifying attributes called upon in the hour of need. Our affiliation has evolved. It has become my “right side man”, a building material allowing me to sculpt in the most honest and sincere way I know how. Something in which I can rely upon to behave expectantly and to coat all endeavours in a comforting sense of nostalgia and dependability. This newfound trait was utilised in my installation at the Glasgow School of Art 2011 Degree Show to create dialogues between materials and characters present through a mixture of objects, film and performance.

When entering the space you are “greeted” by the cake-framed portrait Woman with Strawberry Laces for Hair. A distinct air of judgment falls on those who catch her eye but realistically it is less intended for those who happened upon her domain than for what and who she looks out over. Her stare overlooks an invitingly interactive object The Icing Table, which seems to be there to facilitate some sort of indulgent act. Its glass bowls acting as vessels for cake decorating ingredients, such as hundreds and thousands and glace cherries, slump heavily beneath the surface of its table. Reminiscent of bulging creamy udders. Sitting in opposition to the portrait is a docile character happily contained in her own existence, in the performance The Crowning of The Cake Princess. Acknowledging nothing other than her own contentment their relationship seems to be so well established that there seems to be an accepted hierarchy that is maintained. Mounted on either side of The Cake Princess are two smaller cake frames acting as portholes into an outside space. A fairy like character flits past the openings billowing flour out onto her landscape as she twirls and prances, essentially acting as an animated sieve. Standing alone but very much belonging with its peers is the sculpture Of This Earth. Made up of layered cake and a plaster and flint mix it hints at what could exist at the core of this strange parallel world. Adhering the idea of cake being a legitimate building/earthy material alongside its traditionally used plaster and flint, it gives the possibility of this world quiet validity, encouraging you to indulge guiltlessly in its voluptuous fantasy.”

Gillian Alexxander

┐ Yoshi Kametani └

© Yoshi Kametani, Untitled, from the series Plastic Spoon, 2006-2010

© Yoshi Kametani, Untitled, from the series Plastic Spoon, 2006-2010

Plastic Spoon is a collection of visual documents obtained in Muirhouse, a council scheme located in Edinburgh, UK.

More of Yoshi’s work here

“Their art turns in on itself, becoming nothing more than coded language”, he said

┐ Léonie Hampton └

© Léonie Hampton, Untitled, from the series Autonomy, the Cariou Family – France

© Léonie Hampton, Untitled, from the series Autonomy, the Cariou Family – France

The Cariou family Live an autonomous life in Provence. Faced with the huge cost of property in their area they were fortunate to buy a small olive grove in which they have designed and built their home.
 Their goal is to move as far as possible from the use of non-renewable fuel. They get enough electricity from a 140-watt solar panel to provide them with light and music throughout the year. A pump draws water from the river to a tank. In winter they use solar energy to heat the water, as the river is too cold and the current too strong for bathing.
“The state puts everything into ones hands but one must always work to sustain that materialistic way of life. Money serves to make the system function and people become slaves to it.”
They want to have as little to do with this system as possible. Yanick sustains the family with his earnings from olive, apricot and lavender farming. 
They do not have neighbours.
“It is our choice to live unseen. It is not easy to live in a different way with others watching. No neighbours, no worries. Maybe one day we will have problems but we will find ways. To take the decision to live in this way is a form of combat against modern materialistic life. And we will fight for that decision.”

More of Léonie’s work here

┐ Angelos Tzortzinis └

Greece: Post #2

Kanellos, the Greek protest dog

© Angelos Tzortzinis, from the series Greece Economy crisis

© Angelos Tzortzinis, from the series Greece Economy crisis

“The economic crisis in Greece has sparked riots and violent reactions. Massive protests broke out against severe government spending cuts aimed at saving the country from economic collapse. Thousands of people march through central Athens protesting government plans to impose new spending cuts to save the country from bankruptcy. The protesters chanted in the streets as squads of riot police with stun grenades, tear gas and arrests attempt to enforce discipline.”

More of Angelos’ work here

┐ Milos Bicanski └

Greece: Post #1

Costas Douzinas’ article on the Guardian: In Greece, we see democracy in action

© Milos Bicanski, from the series Indebted Greece

© Milos Bicanski, from the series Indebted Greece

More of Milos’ work here

┐ Kathleen Robbins └

© Kathleen Robbins, Untitled, from The Hostess Project

“In an effort to further inhabit my grandmother’s memories as a young wife, I began an autobiographical, photographic record of my experiences with her recipe journal. This ongoing project is as much a social experiment as a nostalgic experience. I dress in her clothing, prepare meals based on her hand-written recipes, serve invited guests, and perform the role of hostess. I prepare dishes based on her hand-written instruction: her recipes. Aspics, croquettes, meatloaf with pickle and egg garnish . . . And I photograph the results.

In all of my work, I am interested in trying to create larger units of meaning through editing. With The Hostess Project, the photographs and the handwritten recipes are interwoven into sequences and pairs, which illustrate a more complex experience, divided in time and space. Tiny’s recipe journal includes details about intimate family gatherings. I prepare the recipes, not to recreate their associated events. (To recreate any of these gatherings, a deceased family member’s birthday celebration for instance, seems oddly irreverent; see Figure 2.) Rather, the performance of the meal is about inhabiting certain aspects of my grandmother’s memory. The recipe book reveals something compelling about Tiny’s friendships, her marriage, my grandfather’s suicide, and her subsequent years spent alone on the farm. Lists of ingredients are scrawled on the backs of envelopes and scraps of yellowed paper. The book is stained with drips of grease and drops of cream. If my grandfather enjoyed a dish, this is noted in the margin. Recipes are revisited and journal entries revealed first, the details of dinner parties and holidays and, later, why it was too unbearably sad to prepare my grandfather’s favorite dishes. In this respect, the food becomes almost beside the point.”

excerpt from Kathleen’s article on The Hostess Project

More of Kathleen’s work here