Sylvie Bonnot : ‘Eire’ Series (Photography)

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‘Untitled’
Inis Mor-Paris
18 x 24 cm
2006-07
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‘Untitled’
Inis Mor-Paris
18 x 24 cm
2006-07
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‘Untitled’
Inis Mor-Paris
18 x 24 cm
2006-07
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‘Untitled’
Inis Mor-Paris
18 x 24 cm
2006-07
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‘Untitled’
Inis Mor-Paris
18 x 24 cm
2006-07
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‘Untitled’
Inis Mor-Paris
18 x 24 cm
2006-07
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On looking closely at the genesis of Sylvie Bonnot’s work, we begin to realize that the photography is at first, if not a pretext, at least an auxiliary to a walk through a landscape, to pace up and down a territory, to submerge there physically, to merge into it, to embody it. And so, she has crossed alone through the Irish landscape in all weathers, for several years. When she photographs houses and natives there, it seems, in spite of a perceptible empathy, that we do not leave even for a second, the theme of the landscape. When she returns from these periods of immersion, she develops and hoards hundreds of photos, that she sometimes enlarges, even if, for most of the time she amasses them in boxes that she makes for that purpose. Which could be a way for her to appropriate, to contain and to own the territory she has just walked through. [Extract : Text – ‘Eros is a rock’ – Hubert Besacier, 2008]

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Sylvie Bonnot : Website

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Philip McKay : Digital Artworks

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‘obscured by clouds’
digital artwork
philip mckay
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‘home’
digital artwork
philip mckay
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‘guiding light’
digital artwork
philip mckay
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‘another place’
digital artwork
philip mckay
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‘swing’
digital artwork
philip mckay
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‘master and servant’
digital artwork
philip mckay
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‘come as you are’
digital artwork
philip mckay
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Philip McKay : Website

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Philip McKay : ‘Long Exposures’ (Photography)

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‘Staring at the Sea’
Philip McKay
Photograph
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‘The Wall’
Philip McKay
Photograph
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‘Dead Tree’
Philip McKay
Photograph
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‘Two Poles’
Philip McKay
Photograph
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‘Four Rocks’
Philip McKay
Photograph
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‘Rail’
Philip McKay
Photograph
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‘Lakeside Tree’
Philip McKay
Photograph
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“I was born in Anfield, Liverpool. I’ve always had an intrest in photography and over the last three years specialised in black and white fine art. Filters play a big part in my photography and for long exposures I use the ndx400 filter and the ndx1000 filter with a exposure time of three minutes or more. Lee neutral density graduated soft filters are also used for shorter exposures.” – Philip McKay

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Philip McKay : Photography

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Alessandro Puccinelli : ‘Mare’ Series (Photography)

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“All my personal works are about the sea, as the presence of the ocean in my everyday life is a balancing factor that helps me reconnect with that internal equilibrium which, as a human being I all too easily lose. My almost morbid relationship with the sea derives from my passion for surf.” a puccinelli

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Alessandro Puccinelli
‘Mare’ Series
photography
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Alessandro Puccinelli
‘Mare’ Series
photography
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Alessandro Puccinelli
‘Mare’ Series
photography
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Alessandro Puccinelli
‘Mare’ Series
photography
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Alessandro Puccinelli
‘Mare’ Series
photography
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Alessandro Puccinelli
‘Mare’ Series
photography
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Alessandro Puccinelli
‘Mare’ Series
photography
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“Mare” is an ongoing project, which I started in 2006. To some extent, the sea has been my guide throughout life and I think of the ocean as both an example to learn by and a source of knowledge and inspiration. The images attempt to capture the sea at different levels. It can seem to be larger than anything else, both empty and full at the same time, similar but never the same, in perpetual movement, always a source of inspiration, a multitude of contradictions to our eyes but which, nonetheless, manage to fit together in total harmony.” Alessandro Puccinelli

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Alessandro Puccinelli : Behance Network

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The Dead Texan – The six million dollar sandwich (video by Christina Vantzou))

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Christina Vantzou : Website

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Clifford Ross : “Hurricanes” (Photography)

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It took Clifford Ross a few years of photographing hurricanes and being dissatisfied with the results before he realized that the central drama was in the ocean. And that if he wanted to capture it, he’d have to get in it. “There’s an apocryphal tale that Turner lashed himself to a ship’s mast” says Ross describing the 19th century painter’s desire to depict stormy seas. Ross matches that devotion by getting into breakers to his neck, “I’m putting people into a position they would not normally be.”[Time]

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Clifford Ross
Hurricane VIII
50 x 60″
2000

Clifford Ross
Hurricane XV
50 x 60″
2000

Clifford Ross
Hurricane XLII
50 x 60″
2007

Clifford Ross
Hurricane II
50 x 60″
2000

Clifford Ross
Hurricane I
50 x 60″
2000

Clifford Ross
Hurricane XXV
50 x 60″
2000

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Having started out just donning a bathing suit, over the years he’s refined his equipment from waders, tightly belted at the waist, to his present set up—wetsuit, flotation vest and a rope tied to his assistant on the beach. And no, his assistant has no special lifeguard training, “I guess I have to pray that our relationship is as strong as I think it is,” Ross chuckles.

The artist, a New York City native, first became interested in photographing hurricanes in the mid-’90s, he thought he’d be chasing them all over the world. Until he realized he could just stay put on Georgica Beach, a few miles from his Long Island home. “I sit like a fisherman and wait,” says Ross who lenses eight to 12 storms per year. He doesn’t use waterproof cameras, “I don’t want anything between me and the wave,” says Ross. Despite photographing in water anywhere from his ankles to his neck, “the camera and I have both survived,” says Ross. “Its like dancers who say they leave their body during a performance. I’m so riveted by what I see, and trying to stay upright, I don’t feel any fear.”

While Ross admits to a certain amount of thrill seeking, its bearing witness to man’s negative influence on the environment that’s important to him. “Man made pollution has likely increased the intensity of droughts and hurricanes worldwide,” says Ross. He sees his photos as a warning on some level. “When hurricanes land, they force us to look at what we’re doing to nature. Did we cause some portion of this? Did we increase the intensity? The thought that we added fuel to the fire it’s appalling.” [Time]

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Clifford Ross : Website

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