Posts Tagged ‘Gelatin silver print

02
Aug
12

Isa Leshko : ‘Thrills & Chills’ (Photography Series)

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“Bracing for the Fall”
Gelatin silver print
Isa Leshko
2009
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“Girl on Tilt-a-Whirl”
Gelatin silver print
Isa Leshko
2009
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“Point Pleasant, NJ #1”
Gelatin silver print
Isa Leshko
2009
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“Offering to the Gods”
Gelatin silver print
Isa Leshko
2009
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“Pirate Ship, Topsfield Fair, MA”
Gelatin silver print
Isa Leshko
2009
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“Swing Ride at the Big E”
Gelatin silver print
Isa Leshko
2009
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“Among the Trees”
Gelatin silver print
Isa Leshko
2009
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“The Wave”
Gelatin silver print
Isa Leshko
2009
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“Coaster at Dusk, Hershey Park, PA”
Gelatin silver print
Isa Leshko
2009
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Amusement park rides terrify me, which is why I began photographing them. I am fascinated by what compels people to surrender themselves to these mechanical beasts. The rides seem to challenge the very limitations of being human. We can’t fly; yet these vertigo-inducing machines allow us to soar through the open air. The experience combines elation with fear; thrills with chills. These images explore the fantastic and sinister place these rides hold in my imagination. With some of these images, I suspend disbelief and embrace the underlying fantasies of these rides. With other images, I examine the tensions that exist between fantasy and reality. I am interested in exploring the range of emotions—from anger to shock to exultation—that people exhibit in pursuit of the amusement these rides are supposed to provide. I create these images with a Holga camera to provide them with a vernacular feel and a sense of immediacy. The camera’s plastic lens distorts the scale of these rides, particularly when they are photographed against an open sky. I also find working with such an imprecise and flawed camera to be a frightening and liberating experience, akin to being on a roller coaster. Artist Statement

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Isa Leshko : Website

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25
Mar
12

Awoiska van der Molen : Photography

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‘Latent Heat Series’
Awoiska van der Molen
gelatin silver print
2006
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‘Far from the madding crowd’
Awoiska van der Molen
gelatin silver print
2006 – 2008
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‘Latent Heat Series’
Awoiska van der Molen
gelatin silver print
2006
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‘Latent Heat Series’
Awoiska van der Molen
gelatin silver print
2006
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‘Latent Heat Series’
Awoiska van der Molen
gelatin silver print
2006
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‘Far from the madding crowd’
Awoiska van der Molen
gelatin silver print
2006 – 2008
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‘Latent Heat Series’
Awoiska van der Molen
gelatin silver print
2006
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The cities visited by Awoiska van der Molen are not usually part of the regular city trip assortment. Not that it really matters: we would be spared the obligatory sights anyway, and if, like so many tourists, couleur locale is what you’re looking for, you may be better off looking elsewhere. With her images, she tends to lead us to margins of a city: to the side streets, the suburbs, the slums. The habitat of prefabricated walls and wooden fences, trees lost in a dreary fake garden in the front yard. Unorthodox gate assemblies or little sheds, surrounded by barbed wire. And it is always dark… – [Text]

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Awoiska van der Molen : Website

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23
Jan
12

Osheen Harruthoonyan: ‘Black Garden’ Series (Photography)

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“It’s easy to lose sight of exactly who you are while passing through the ‘Black Garden’. At the start, things are clear, there’s you and there’s the land, you each have your names and the division is simple.

Yet even from a peak within Nagorno-Karabakh you’re lost in the panorama. Mountain after mountain begets valley upon valley. A singular road runs through it all and though the end is too far to make out, you trust there’s an end. In your immediate vicinity at any given time you lose yourself in the intimacy of the trees, the overgrown foliage, the tombstones of an abandoned graveyard like fossilised crevices disintegrating in the wind. Voices buried beneath the moss, and cumulative silence, whisper about war.

There are small signs of life, a singular bird, a crucifix like a question mark that would cease to be seen if not for a blinking flame between the dripping walls of a crumbling cave. As night falls, shadows cannot be deciphered from leaves. Something floats by your eye, mouches volontes, a schism in the visual fabric, produced by your mind or the air, it does not matter. Your heart beats out what colour is left of the fading day and at once you are included and excluded from the landscape…” – Amy Pagnotta

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‘Black Garden’
sepia, gold, selenium toned
gelatin silver print
25 x 25 inches
2011
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‘Black Mirror’
sepia, gold, selenium toned
gelatin silver print
25 x 25 inches
2011
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‘Swan’
sepia, gold, selenium toned
gelatin silver print
28 x 35 inches
2011
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‘Wave’
sepia, gold, selenium toned
gelatin silver print
25 x 25 inches
2011
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‘Schism’
sepia, gold, selenium toned
gelatin silver print
25 x 25 inches
2011
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‘Tree of Garni’
sepia, gold, selenium toned
gelatin silver print
25 x 25 inches
2011
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‘Mercury’
sepia, gold, selenium toned
gelatin silver print
25 x 25 inches
2011
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Born in Persia and raised in Athens, Greece and Vancouver B.C., Osheen Harruthoonyan is a Toronto based photographer and filmmaker. Drawing upon his rich experiences living in such diverse cities, he employs a multi-faceted approach towards his artistic practice, investigating memory, history and the deconstructive process of time. Osheen’s work has been featured on Bravo! Arts Channel and his exhibitions in Toronto have consistently been noted as a top show not to miss. Harruthoonyan has also worked as a cinematographer on numerous short films, music videos, and experimental films.

Osheen Harruthoonyan’s sumptuous photographic prints evoke the uncertain, fledgling flashes encountered at the threshold of a dream. Combining traditional large-format photography with a variety of analog photo-manipulation techniques, Harruthoonyan skillfully renders his subjects within ethereally illusive environments. The fastidious striations and cracks of his altered film negatives become esoteric anomalies that hearken to a unique and singular “subterranean realm”.

Harruthoonyan’s willingness to take risks within the confines of the traditional photographic process makes this representational capacity possible. Altering each negative by hand, his works crystallize midway between the calculable and the spontaneous, addressing both the systematic and the chaotic. His careful yet playful inventiveness unravels the mysteries of our collective irreconcilable reverie. Harruthoonyan’s creations conjure the lifetimes that exist within moments, and the glimmers of strangeness that give pause to our ever-evolving subconscious states. Within his work, we witness not only the captured image, but the very process of image-making laid bare. – [Ex : La Petite Mort Gallery]

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Osheen Harruthoonyan : Website

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31
Oct
11

Isa Leshko : ‘Thrills & Chills’ (Photography)

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‘Coaster Cables’
gelatin silver print
2008

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‘Coaster Spine’
gelatin silver print
2009

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‘Around the Bend’
gelatin silver print
2009

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‘Ferris Wheel’
gelatin silver print
2008

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‘Zipper Ride’
gelatin silver print
2009

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‘Offering to the Gods’
gelatin silver print
2009

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‘The Claw’
gelatin silver print
2008

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Amusement park rides terrify me, which is why I began photographing them. I am fascinated by what compels people to surrender themselves to these mechanical beasts. The rides seem to challenge the very limitations of being human. We can’t fly; yet these vertigo-inducing machines allow us to soar through the open air. The experience combines elation with fear; thrills with chills.

These images explore the fantastic and sinister place these rides hold in my imagination. With some of these images, I suspend disbelief and embrace the underlying fantasies of these rides. With other images, I examine the tensions that exist between fantasy and reality. I am interested in exploring the range of emotions—from anger to shock to exultation—that people exhibit in pursuit of the amusement these rides are supposed to provide.

I create these images with a Holga camera to provide them with a vernacular feel and a sense of immediacy. The camera’s plastic lens distorts the scale of these rides, particularly when they are photographed against an open sky. I also find working with such an imprecise and flawed camera to be a frightening and liberating experience, akin to being on a roller coaster. [Artist Statement]

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Isa Leshko : Photography

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05
Apr
11

Jungjin Lee : ‘Wind’ Series (Photography)

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The images in the Wind Series represent my introspective states and thoughts. Out in the field, in the forest, or in the village, I am ready to press the shutter release when the scenery stirs my emotions and imagination. This moment of ‘absolute echo’ within myself travels through infinite time and space. That is, ‘Wind’ becomes my energy of free spirit. Vanishment and transformation. Sadness – yet another change… Wind is invisible and it contains more of inner thoughts than an actual fact or a definition. I don’t try to make my definite direction of wind in my works. That is why I like the title Wind. They are just landscape pictures…” Jungjin Lee

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’06-56′
‘wind’ series
gelatin silver print
2008

’07-106′
‘wind’ series
gelatin silver print
2008

’07-87′
‘wind’ series
gelatin silver print
2008

’07-83′
‘wind’ series
gelatin silver print
2008

’06-55′
‘wind’ series
gelatin silver print
2008

’07-72′
‘wind’ series
gelatin silver print
2008

’07-101′
‘wind’ series
gelatin silver print
2008

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Lee’s work is unique in the world of photography. She does not mechanically reproduce multiples, but creates each work by hand. She brushes liquid emulsion onto large sheets of handmade rice and mulberry papers. Her brushstrokes sweep across the soft texture of the paper and capture the photographic image, revealing a painter’s sensibility in a gestural dance. Calligraphy, an art form the artist mastered as a young child, resonates through her oeuvre.

The series was made in a wide panoramic format on gelatin silver coated Korean Hanji paper. The absorbent surface texture of the paper combined with dreamlike images of the natural world and of man’s habitation within it creates the illusion of movement – an imperceptible blur of the motion of internal landscapes transported by a breath both human and cosmic. [Extract : Bellas Artes Gallery]

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Jungjin Lee : Website

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04
Mar
11

Eric de Maré : Photography

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“a social conscience of visual values – more valid than ever”. Norman Foster

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Post Mill
Essex
Gelatin silver print
1960

Watermill
Halstead, Essex
Gelatin silver print
1960

Crumlin Viaduct
Ebbw Vale
Gelatin silver print
1954

‘Skyscraper’ fishermen’s sheds
the Stade, Hastings, Sussex
Gelatin silver print
1956

West Norwood cemetery
London
Gelatin silver print
1968

St Edward’s, Brotherton
Ferrybridge B power station
Gelatin silver print
1960s

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De Maré found beauty where it was least expected, in canal locks, viaducts, worn steps and boat sheds. These were utility structures with efficient design that appealed to many modern architects. His monochrome prints reveal textures that makes you want to reach out and grab the subjects of his images. The photos also presage the work of German photographers Bernd and Hilla Becher, who made it their life work to chart the intricate differences and stark beauty of largely-ignored industrial architecture. Looking at his photos from the 50s and 60s, it’s particularly moving when you realise that many of the subjects no longer exist, swept away by the modernisation and “improvement” works of the following decades. Others have been neutered; for example, the warehouses at Gloucester Docks are now an antiques market and designer outlet. De Maré captured the last gasps of industrial Britain, with images softened by smoke and smog. It’s an unmissable trip down memory lane that has much to say for our present and future, particularly in terms of townscape and human-scale design. [G.Gardner}

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Eric de Maré : Riba

Eric de Maré : Guardian




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