Josef Schultz : Photography

::

::
‘Form #16’
120 x 156 cm
C-Print
2004
::

::
‘Halle rot-grau #2’
100 x 133 cm
C-Print
2002
::

::
‘Halle rot-grau #1’
100 x 133 cm
C-Print
2001
::

::
‘Form #14’
120 x 160 cm
C-Print
2004
::

::
‘Rot-blau’
100 x 142 cm
C-Print
2004
::

::
‘Blau-rot’
100 x 133 cm
C-Print
2001
::

Josef Schulz is a “photographer” of modern warehouses and factories – trite industrial buildings that nobody would want to consider to be of any major architectural interest. All over the world these buildings are mass-produced, built for all kinds of industrial production processes using identical plans and blueprints. Their exteriors offer no hint whatsoever of the specific purposes for which they are used, their facades vary only in terms of the materials selected – all of them pre-fabricated, such as slabs of concrete, corrugated sheet metal and other cheap building materials. Josef Schulz does not aim at exposing this architecture in any way nor does he want to venture into a critical analysis of its appearance. He simply uses the photographs of the buildings to study the grammar of his trade. Schulz starts by taking traditional photographs of the halls, storage facilities and industrial structures with large sized photographic plates. Using digital image processing, the analogue picture produced is then “cleansed” of the few remaining hints that point to the age, location or environment of the buildings…

All details that might possibly allow conclusions concerning the actual size, users, time or place of the buildings are completely removed. The physical reality of the buildings is changed in such a way that they seem to become virtual blueprints designed to perfection. Schulz focuses on colours and shapes reducing them to simple block-like structures. Particular emphasis is given to symmetries, colour contrasts and the overall structure of the image: they thus become dominant components of the picture. The buildings now resemble toy architecture; and suddenly appear to be benign counterparts of themselves. He uses this type of processing to eliminate the gap between “photographic” and “painted” reality for the benefit of optimizing the picture. He reverses the photographic process by reducing the physical buildings to their design concepts and the photographically “real” picture to its original “virtual” one. Schulz thus opts for an approach that is diametrically opposed to that of producers of digital images – to make the rendering of artificial pictures appear as real as possible. The viewer is somewhat confused: he seems to recognize parts that appear to be authentic without being able to distinguish whether they were truly located before the camera or generated with the tools of digital image processing. By doing so, he distances himself from the “objectivity” of photography and shows that pictures are always the construct of the visual power of imagination of the artist. – [Extract]

::

Josef Schultz : Website

Josef Schultz : More Works

::

Azurebumble : ‘AI : Series’ (Photography Book)

::

::

Recently, I’ve curated a number of image series by photographers from ‘Flickr’ on my blog ‘Aesthetic Investigations’. Subsequently, I thought it would be interesting to document these works in a book. Therefore, i’ve arranged a collection of ’39’ abstract and minimal photographic series by these ’32’ artists. A selection of pages from the book can be viewed below, a full book preview can be seen: HERE

::

Thank you to everyone who contributed their images to this project.

All graphic content and curations by : Alan Wilson ( azurebumble )

::

::
Book Cover
Front & Back Pages
::

::
Introductory Pages
Copyright & Contents
::

::
Introductory Pages
Tags, Artists & Series Thumbnails
::

::
Photography Series
Gianni Galassi
::

::
Photography Series
Teresa (Colourful Life) & roB_meL
::

::
Photography Series
Camilo Todemann & Olli Kekäläinen
::

::
Photography Series
Brancolina & Barbara Stumm
::

::
Photography Series
Françoise Lucas & Leonie Polah
::

::
Photography Series
Julian Gomez & Tom Mclaughlan
::

Artists

::

Alec Cheer……………………Annemie Hiele……………………..Azurebumble……………………Barbara Stumm

Brancolina………………….Camilo Todemann…………………..Daniel Molina…………………….Fernandoprats

Françoise Lucas…………….Gianni Galassi…………………….James Withey……………….John Kosmopoulos

Julian Gomez……………Krystina Stimakovits…………………Leonie Polah………………………….Lillykeeper

Lord Jezzer…………………..Lucie Bourassa…………………..Mark Valentine…………………..Olli Kekäläinen

Peter Moons…………………..Phédia Mazuc……………………..Rita Vita Finzi…………………………….roB_meL

Shari Baker……………………Steffen Tuck………………..Teresa (Colourful life)…………..Tom McLaughlan

Visualisarium…………………..Wilma Eras……………………Wouter Hogendorp……………………….Zel Nunes

::

VIEW FULL BOOK PREVIEW AND PURCHASE HERE

::

::

Ronan Guillou : ‘Colour Photography’ ( Series 1 )

::

::
‘Ready Made Series’
Ronan Guillou
C-Print
::

::
‘Yippee Series’
Ronan Guillou
C-Print
::

::
‘Intra Muros Series’
Ronan Guillou
C-Print
::

::
‘Driven Series’
Ronan Guillou
C-Print
::

::
‘Intra Muros Series’
Ronan Guillou
C-Print
::

::
‘Driven Series’
Ronan Guillou
C-Print
::

Catching places, cities, glances: Ronan Guillou translates his pleasure and desire for keeping traces of them during his walks. Cities, and the people who animate them, are the basis of his humanistic approach. Aside from his commercial campaigns, Guillou’s personal work records moments of ordinary life, where men and women are photographed during their daily routines in urban landscapes. Initially influenced by cinematic environments and the aesthetics of American cities, his work also extends to cities in Asia, Europe and South America. Without criticism, Guillou feels affection and empathy for his characters, giving the images a pictorialist and poetic depth… – [Extract : Bio – Sous Les Etoiles Gallery]

::

Ronan Guillou : Website

Ronan Guillou : Series (2)

::

Ronan Guillou : Colour Photography ( Series 2 )

::

For the past ten years, Ronan Guillou has undertaken a broad personal photographic investigation, suggesting a vision of the complexity of the dialogue between the protagonists of urban life. It was in the process of his numerous expeditions on different continents that this research became clearer, before he made the United States his primary source of documentation. Difficult to classify, Ronan Guillou’s work is somewhere in between documentary photography and plastic photography; where in just a few years, the artist compiled a considerable body of work that he only began showing in 2005.

::

::
‘Intra Muros Series’
Ronan Guillou
C-Print
::

::
‘Downtown Series’
Ronan Guillou
C-Print
::

::
‘Downtown Series’
Ronan Guillou
C-Print
::

::
‘Intra Muros Series’
Ronan Guillou
C-Print
::

::
‘Intra Muros Series’
Ronan Guillou
C-Print
::

::
‘Downtown Series’
Ronan Guillou
C-Print
::

::
‘Intra Muros Series’
Ronan Guillou
C-Print
::

If his photographs suggest a poetic vision of the ordinary and call upon the imagination of each and every one of us, they also question us on the temporality [material matter] of places, reveal their nearly organic power as well as their fragility, and examine man’s relationship with the constructed universe. The use of a medium-sized format allows the artist to give priority to immediate contact with his subject while remaining in touch with the elements outside of the frame.

Color is also at the heart of the production process as the decisive material of the formal approach; if in fact it makes it possible to reveal the geometrical force of spaces and the poetic dimension of certain scenes, it tends to pay tribute to traditional American iconography as well. The entirety of Ronan’s work is produced on negative film and no retouching is carried out on the originals, leaving the photographers point of view intact and without distortion. – Extract : Press Release – NextLevel Galerie

::

Ronan Guillou : Website

Ronan Guillou : Series (1)

::

Jungjin Lee : ‘Wind’ Series (Photography)

::

“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

::

’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

::

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]

::

Jungjin Lee : Website

::

Susan Burnstine : “On Waking Dreams” (Photography)

“Who looks outside, dreams; who looks inside, awakes.” Carl Jung

Susan Burnstine
‘Inside Looking Out’
On Waking Dreams (series)
Archival Pigment Ink Print

Susan Burnstine
‘This side of Heaven’
On Waking Dreams (series)
Archival Pigment Ink Print

Susan Burnstine
‘Circuitous’
On Waking Dreams (series)
Archival Pigment Ink Print

Susan Burnstine
‘In Passage’
On Waking Dreams (series)
Archival Pigment Ink Print

Susan Burnstine
‘Walk the Line’
On Waking Dreams (series)
Archival Pigment Ink Print

Susan Burnstine
‘Two’
On Waking Dreams (series)
Archival Pigment Ink Print

WITHIN SHADOWS: This ongoing body of work explores the fleeting moments between dreaming and waking – the blurred seconds in which imagination and reality collide.

“As a child, I suffered vivid nightmares that stayed with me for days. Often, I would walk around not sure if I was dreaming or awake, as the lines between the two remained blurred. Existing within the shadows of the unconscious made life a curious synthesis of magic and reality. Portals to the unknown emerged, offering me pathways that seemed to bridge the gap between real and unreal, life and death. Though the intensity of my dreams did not lessen as an adult, my response transformed. Initially, I was lost within the haze of my dreams. But now, it is through my dreams that I truly see.

Conceived as a trilogy, this project is presented in three successive chapters, On Waking Dreams, Between and Flight, which explore three states of mind: dreaming (subconscious), sleeping (unconscious), and waking (conscious). To create the images, I recall a significant metaphor, contemplative moment or pathway into the unknown from a dream the night before. I then capture the fading memory on film that very same day using details from my own imaginings to tap into the collective unconscious.

For these series, I wanted to find a way to portray my dream-like visions entirely in-camera, rather than with post-processing manipulations. To achieve this, I created twenty-one hand-made film cameras and lenses that are frequently unpredictable and technically challenging. The cameras are primarily made out of plastic, vintage camera parts and random household objects and the single element lenses are molded out of plastic and rubber. Learning to overcome their extensive limitations has required me to rely on instinct and intuition – the same tools that are key when attempting to interpret dreams.” Susan Burnstine

Susan Burnstine : Website

Susan Burnstine : Kevin Longino

Susan Burnstine : Verve Gallery of Photography