WHAT REMAINS- Curator Jody Miller > Group Exhibition #2
Group Exhibition #2
BROTHEL by Diane Cockerill
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Diane Cockerill says of her work, "I am a city girl, born and raised, but the chance to flee the chaos of skyscrapers and traffic appeals to me on occasion, especially to wide open desert landscapes where evidence of humans is scarce. Raw beauty, nostalgia and mystery of the remnants of abandoned buildings play a role in the images that attract me. My mind imagines their untold stories.
About this image, 'Brothel', there is an old brothel at 7th and Santa Fe in the Arts District, believe it or not. Adjacent to The Bread lounge. The building is slated for demo and may already be down. I was lucky to get inside about three years ago, with only two other people and honestly, you could feel the ghosts. The tiny rooms, doors with old brass numbers, peeling wallpaper...it was so cool, but then film crews wrecked it."
Images of Los Angeles-based photographer Diane Cockerill transcend the ordinary as she finds inspiration in the rich pageantry of her city.
As a third generation Angeleno, she draws inspiration from the macro of the downtown skyline to the micro of street curbs, taking the usual and offering it up with unusual perspective and sensibility.
Diane studied fine arts at UCLA and has shown work at local galleries as well as the Griffin Museum of Photography in Winchester, MA, International Pink Art Fair in Seoul, Korea, and ph21 gallery in Budapest.
Touring America Magazine and Southern California Women's Caucus for Art's "Women Around Town" have highlighted her work and her street art persona was a topic of an article on Huffington Post.
www.facebook.com/dianecockerill
About this image, 'Brothel', there is an old brothel at 7th and Santa Fe in the Arts District, believe it or not. Adjacent to The Bread lounge. The building is slated for demo and may already be down. I was lucky to get inside about three years ago, with only two other people and honestly, you could feel the ghosts. The tiny rooms, doors with old brass numbers, peeling wallpaper...it was so cool, but then film crews wrecked it."
Images of Los Angeles-based photographer Diane Cockerill transcend the ordinary as she finds inspiration in the rich pageantry of her city.
As a third generation Angeleno, she draws inspiration from the macro of the downtown skyline to the micro of street curbs, taking the usual and offering it up with unusual perspective and sensibility.
Diane studied fine arts at UCLA and has shown work at local galleries as well as the Griffin Museum of Photography in Winchester, MA, International Pink Art Fair in Seoul, Korea, and ph21 gallery in Budapest.
Touring America Magazine and Southern California Women's Caucus for Art's "Women Around Town" have highlighted her work and her street art persona was a topic of an article on Huffington Post.
www.facebook.com/dianecockerill
EMPTY by Diane Cockerill
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Cockerill says of her image, 'Empty', This image was taken in Ludlow, California. After Interstate 40 was built bypassing town there was little business and most residents departed, leaving ruins of empty buildings and Tamarisk trees that sill stand flanking the old highway. Tourists exploring historic Route 66 pass through the ghost town now."
BANISHED by Diane Cockerill
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Cockerill says of her image, 'Banished', "This image was taken in Ludlow, California. After Interstate 40 was built bypassing town there was little business and most residents departed, leaving ruins of empty buildings and Tamarisk trees that sill stand flanking the old highway. Tourists exploring historic Route 66 pass through the ghost town now."
MEMORIES by eCindy Stein
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eCindy Stein says, "A New Yorker all my life. Studied Fine Art and Photography through the CUNY Baccalaureate Program. Stepped away from photography to raise a family and came back when life became digital.
I love to immerse myself in the entire process of photography – from concept to completion of the image.
I believe in shooting multiple genres as it refreshes the eye and opens up new ways seeing each genre."
Stein has been published in the New York Times and Pulse Magazine
For more info go to: www.photosbyec.com
I love to immerse myself in the entire process of photography – from concept to completion of the image.
I believe in shooting multiple genres as it refreshes the eye and opens up new ways seeing each genre."
Stein has been published in the New York Times and Pulse Magazine
For more info go to: www.photosbyec.com
REMAINS OF THE DAY by eCindy Stein
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SHIPWRECKED by eCindy Stein
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A MEMORY OF CLIMBING by Eddee Daniel
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Eddee Daniel says of his work, "I am a photographer specializing in cultural landscapes and contemporary ecologies.
My practice examines how we perceive and inhabit nature in the contexts of culture and the built environment.
I’m attracted to contradictory realities in a world increasingly compromised or redeemed by our own actions.
My practice is conceptually framed by the paradoxical term “Urban Wilderness,” which symbolizes the complexity of my work as well as themes and tensions inherent in the concept.
The over-arching theme of “Urban Wilderness” has led to several related bodies of work using a variety of expressive, formal and conceptual approaches.
These images are from the Reverie Series, which represents a subjective and emotional approach to this theme.
Although the landscape is prominent, these images speak less about a particular place, but rather function as meditation or emotional experience.
Like the world as perceived, the facts are blurred: the image moves from actuality to some dimly seen place between memory and desire, where the landscape is subjective and the intersecting spirits of nature and humanity are all that remains of concrete reality.
I am a Milwaukee based photographer and writer. I bring to my current full-time practice over 30 years of teaching experience as well as an extensive record of exhibitions and publications."
www.eddeedaniel.com
My practice examines how we perceive and inhabit nature in the contexts of culture and the built environment.
I’m attracted to contradictory realities in a world increasingly compromised or redeemed by our own actions.
My practice is conceptually framed by the paradoxical term “Urban Wilderness,” which symbolizes the complexity of my work as well as themes and tensions inherent in the concept.
The over-arching theme of “Urban Wilderness” has led to several related bodies of work using a variety of expressive, formal and conceptual approaches.
These images are from the Reverie Series, which represents a subjective and emotional approach to this theme.
Although the landscape is prominent, these images speak less about a particular place, but rather function as meditation or emotional experience.
Like the world as perceived, the facts are blurred: the image moves from actuality to some dimly seen place between memory and desire, where the landscape is subjective and the intersecting spirits of nature and humanity are all that remains of concrete reality.
I am a Milwaukee based photographer and writer. I bring to my current full-time practice over 30 years of teaching experience as well as an extensive record of exhibitions and publications."
www.eddeedaniel.com
STAIRWAY TO NOWHERE by Eddee Daniel
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WHEN WE WERE HUNTERS by Eddee Daniel
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INCOMPLETE DREAM by Ellen Jantzen
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Ellen Jantzen says of this series entitled, 'Losing Reality: Reality of Loss', "How does one experience loss? What does loss look like?
Catastrophic losses usually have a face; think war photos, photos from the World Trade Center, crashes of various sorts but I am interested in personal loss.
I have always been interested in alternate states of reality, but looking over my last few series, those initiated and completed since moving to the Midwest from California, I see that I am also dealing with "loss" in some form; loss of friends, home, youth, and the ultimate loss, loss of life. Death transforms us; reality shifts, but to what?
I am intrigued with how a person adapts to losses in their lives; how they are absorbed by events and changed; how they experience loss.
I set about to address these issues through a photographic photosynthesis in this body of work; choosing photography as the medium to help me reveal and at the same time enshroud truths.
In this work, I have placed my husband (Michael) in various environments where a loss of some sort has recently occurred. One of these locations is the interior of a house designed by Michael and built by both of us for his mother about 30 years ago.
The structure has gone through a radical evolution from its contemporary inception to being filled with antiques. Recently this home was sold as mother was moved to an assisted living home. Clearing 30 years of accumulation to reveal the naked interior was transformative. To ultimately see a new family inhabiting the space has left Michael with contradictory feelings of loss and resurrection."
Awards:
2016
FIRST PLACE WINNER (Fine Art, Special Effects Category) Moscow International Foto Awards
LONGLISTED for the Aesthetica Art Prize (exhibited 04/14 - 05/29)
HONORABLE MENTION (Fine Art Category) for my piece “Committed to Memory, 2 - International Color Awards, 9th Annual
2015
WINNER of the 8th Julia Margaret Cameron Award honoring women in photography. Only 15 women were chosen world-wide by juror Laura Noble, UK.
WINNER-Alternative Process Category in the 8th Julia Margaret Cameron Award
HONORABLE MENTION WINNER at the 10th Annual Black & White Spider Awards with in Abstract Category for my piece “Finale”
HONORABLE MENTION (Fine Art Category) for my series "Unity of Time and Place" in the London International Creative Contest
SILVER AWARD WINNER for my piece, "A Resonant Chill" in Art Forward Contest, #3
2ND PLACE, MERIT OF EXCELLENCE AWARD, International Color Awards, 8th Annual
www.ellenjantzen.com
Catastrophic losses usually have a face; think war photos, photos from the World Trade Center, crashes of various sorts but I am interested in personal loss.
I have always been interested in alternate states of reality, but looking over my last few series, those initiated and completed since moving to the Midwest from California, I see that I am also dealing with "loss" in some form; loss of friends, home, youth, and the ultimate loss, loss of life. Death transforms us; reality shifts, but to what?
I am intrigued with how a person adapts to losses in their lives; how they are absorbed by events and changed; how they experience loss.
I set about to address these issues through a photographic photosynthesis in this body of work; choosing photography as the medium to help me reveal and at the same time enshroud truths.
In this work, I have placed my husband (Michael) in various environments where a loss of some sort has recently occurred. One of these locations is the interior of a house designed by Michael and built by both of us for his mother about 30 years ago.
The structure has gone through a radical evolution from its contemporary inception to being filled with antiques. Recently this home was sold as mother was moved to an assisted living home. Clearing 30 years of accumulation to reveal the naked interior was transformative. To ultimately see a new family inhabiting the space has left Michael with contradictory feelings of loss and resurrection."
Awards:
2016
FIRST PLACE WINNER (Fine Art, Special Effects Category) Moscow International Foto Awards
LONGLISTED for the Aesthetica Art Prize (exhibited 04/14 - 05/29)
HONORABLE MENTION (Fine Art Category) for my piece “Committed to Memory, 2 - International Color Awards, 9th Annual
2015
WINNER of the 8th Julia Margaret Cameron Award honoring women in photography. Only 15 women were chosen world-wide by juror Laura Noble, UK.
WINNER-Alternative Process Category in the 8th Julia Margaret Cameron Award
HONORABLE MENTION WINNER at the 10th Annual Black & White Spider Awards with in Abstract Category for my piece “Finale”
HONORABLE MENTION (Fine Art Category) for my series "Unity of Time and Place" in the London International Creative Contest
SILVER AWARD WINNER for my piece, "A Resonant Chill" in Art Forward Contest, #3
2ND PLACE, MERIT OF EXCELLENCE AWARD, International Color Awards, 8th Annual
www.ellenjantzen.com
PROOF by Ellen Jantzen
*HONORABLE MENTION
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*HONORABLE MENTION
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MYSTIFY by Ellen Jantzen
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UNTITLED 4 by Flaminia Celata
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Flaminia Celata says of her work, "I’ve been taking pictures of Phoenix Canariensis Palms in Rome since 2013, where the majority of these plants, some of them centuries-old, have died and still dying due to the red palm weevil.
Adult females lay about 200 eggs at the base of young leaves or in wounds to the leaves and trunks… The cause of the high rate of spread of this pest is human intervention, by transporting infested young or adult date palms trees and offshoots from contaminated to uninfected areas. M. Ferry and S.Gòmez.
The palm is completely devoured by the deposited larvas. The leaves fall down and the entire plant begins to collapse. Not only the fallen leaves or the trunks, stripped naked from their foliage, capture my attention, but it’s also the shape that the palm assumes on the terminal stage.
As the highways, the squares, the front yards, the parks, the socio-economic environment, and our life change with time, as well the palm transforms its aspect and dies."
Flaminia Celata (Rome 1973) after having worked for several years in the field of painting, pictorial decoration and restoration, began to dedicate herself to photography.
She studied photography at the Roman School of Photography in Rome, where she graduated in 2009. In 2011, she attended an Anders Petersen's workshop "Surprise by the unpredictable" at TPW.
In 2015 she was selected to take part in the ISSP's workshop "A crash course in photobook making" by Akina Books and Nico Baumgarten, the work produced was shown during the final exhibiton in Kuldiga, Latvia.
In 2015, she won the public award "Rock Your Dummy" at Le Photobookfest during Paris Photo. Currently, she lives and works in Rome.
www.flaminiacelata.com
Adult females lay about 200 eggs at the base of young leaves or in wounds to the leaves and trunks… The cause of the high rate of spread of this pest is human intervention, by transporting infested young or adult date palms trees and offshoots from contaminated to uninfected areas. M. Ferry and S.Gòmez.
The palm is completely devoured by the deposited larvas. The leaves fall down and the entire plant begins to collapse. Not only the fallen leaves or the trunks, stripped naked from their foliage, capture my attention, but it’s also the shape that the palm assumes on the terminal stage.
As the highways, the squares, the front yards, the parks, the socio-economic environment, and our life change with time, as well the palm transforms its aspect and dies."
Flaminia Celata (Rome 1973) after having worked for several years in the field of painting, pictorial decoration and restoration, began to dedicate herself to photography.
She studied photography at the Roman School of Photography in Rome, where she graduated in 2009. In 2011, she attended an Anders Petersen's workshop "Surprise by the unpredictable" at TPW.
In 2015 she was selected to take part in the ISSP's workshop "A crash course in photobook making" by Akina Books and Nico Baumgarten, the work produced was shown during the final exhibiton in Kuldiga, Latvia.
In 2015, she won the public award "Rock Your Dummy" at Le Photobookfest during Paris Photo. Currently, she lives and works in Rome.
www.flaminiacelata.com
UNTITLED 24 by Flaminia Celata
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UNTITLED 26 by Flaminia Celata
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60 YEAR OLD SLEEPING DRESS by Francis Schanberger
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Francis Schanberger says of his work, "As a photographer I have been trained to create archivally stable images, it seems strange to call something a photograph when it relies upon an act of staining and a prolonged act of fading. I utilize natural pigments, some gathered from my backyard and others gleaned from the kitchen, in a historic photographic process called the anthotype. These pigments are coated onto watercolor paper in successive layers until enough density is built up.
I arrange sleepwear on top of the coated paper, sandwich them between plywood and Plexiglass and leave them to expose for weeks or even months depending upon the time of year and the strength of pigment.
The choice of garments originates from my childhood memory of seeing my father in his pajamas and my mother in her nightgown. The colors I work with suggest the garment with which it will be paired.
Pajamas may garner mulberry, yellow onionskin, saffron, or even a green derived from an evergreen tree. Purple iris, red tulip, yellow onionskin or fuchsia derived from pokeweed berries might be paired with nightgowns and peignoirs.
The clothing falls into two categories: previously owned and intimates. I imagine that despite washings the clothing bears a memory of the previous owner who’s skin it touched. The resulting photograms are a record of a new exchange, a contact between clothing and stained paper. Like the transient nature of memory, the anthotype photograms will fade with continued exposure to light.
The very act of displaying them and viewing them has a cost in terms of longevity. They will fade more quickly than archivally processed photographs but nothing lasts forever. Not a flag on the moon, not a monument from antiquity, not the internet and certainly not a memory of what my parents wore to bed four decades ago."
One of nine children, Francis Schanberger has been photographing since fourth grade when he presented a homemade, long focal length pinhole camera as his science project.
An early part of his photographic career was spent working as a laboratory assistant at the University of California, San Diego, School of Medicine where, after hours, he would make cyanotype photograms in the laboratory using equipment and supplies that were close at hand.
After receiving his Master of Fine Arts from the Ohio State University in 2002, Francis’ photography has been characterized by an interest in historical photographic processes and staged self-portraiture.
He has been an artist in residence at the Headlands Center for the Arts (2005), Emmanuel College in Boston, Massachusetts (2011) and Vermont Studio Center in 2013. He has exhibited at Soho Photo in New York, the Houston Center for Photography, the Free University of Brussels, as well as COHJU Gallery in Kyoto, Japan.
www.frangst.com
I arrange sleepwear on top of the coated paper, sandwich them between plywood and Plexiglass and leave them to expose for weeks or even months depending upon the time of year and the strength of pigment.
The choice of garments originates from my childhood memory of seeing my father in his pajamas and my mother in her nightgown. The colors I work with suggest the garment with which it will be paired.
Pajamas may garner mulberry, yellow onionskin, saffron, or even a green derived from an evergreen tree. Purple iris, red tulip, yellow onionskin or fuchsia derived from pokeweed berries might be paired with nightgowns and peignoirs.
The clothing falls into two categories: previously owned and intimates. I imagine that despite washings the clothing bears a memory of the previous owner who’s skin it touched. The resulting photograms are a record of a new exchange, a contact between clothing and stained paper. Like the transient nature of memory, the anthotype photograms will fade with continued exposure to light.
The very act of displaying them and viewing them has a cost in terms of longevity. They will fade more quickly than archivally processed photographs but nothing lasts forever. Not a flag on the moon, not a monument from antiquity, not the internet and certainly not a memory of what my parents wore to bed four decades ago."
One of nine children, Francis Schanberger has been photographing since fourth grade when he presented a homemade, long focal length pinhole camera as his science project.
An early part of his photographic career was spent working as a laboratory assistant at the University of California, San Diego, School of Medicine where, after hours, he would make cyanotype photograms in the laboratory using equipment and supplies that were close at hand.
After receiving his Master of Fine Arts from the Ohio State University in 2002, Francis’ photography has been characterized by an interest in historical photographic processes and staged self-portraiture.
He has been an artist in residence at the Headlands Center for the Arts (2005), Emmanuel College in Boston, Massachusetts (2011) and Vermont Studio Center in 2013. He has exhibited at Soho Photo in New York, the Houston Center for Photography, the Free University of Brussels, as well as COHJU Gallery in Kyoto, Japan.
www.frangst.com
HALF SLIP by Francis Schanberger
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THREE NIGHTGOWNS by Francis Schanberger
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EVERYTHING COLLAPSED by Greg Brophy
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Greg Brophy says of his work, 'Where the Ocean Meets the Shore', "On October 29th, 2012 Hurricane Sandy made landfall in New Jersey and dramatically changed my life and the lives of many people I love.
I am a native of Hazlet, N.J., and spent much of my life in and among the shore communities of South Jersey. My parents have lived in Manasquan, a small town near Point Pleasant, for 13 years prior to the storm. Their house was flooded with about two feet of water; they were lucky. Many of their neighbors had fared much worse.
As I witnessed the struggles and problems of people trying to rebuild their lives, I am working to convey the sheer power of the force that damaged people’s homes and their communities within the same image.
Hurricane Sandy is one of the many warning signs we still fail to see. Climate change is coming whether we like it or not. As a society we have some hard decisions to make before it’s too late and they are made for us."
Greg Brophy is a Brooklyn-based photographer who documents New York’s disappearing neighborhoods and the void that is left there. He primarily works with medium and large format film and often uses alternative printing methods to connect the finished piece with the subject matter.
Honors
Top 200 photographers in Photolucidia’s Critical Mass 2015
Group Exhibitions
2013 Sandy: The Once and Future Superstorm, Bergen Community College, Paramus, NJ
2013 The International Art Festival, CPW 25 Gallery, New York, NY
2013 The 5th Annual Curious Camera Event, Arts Eye Gallery, Tucson AZ
2013 Into The Blue, The Impossible Project Space New York, NY
2010 “Cold Fingers Reach Into the Night Air” Exhibited by the MTA in the 181st Street Subway New York, NY
greg@gregbrophy.com
Twitter: @gregbrophy
Instagram: @gregbrophy
Facebook: gregbrophyphoto
I am a native of Hazlet, N.J., and spent much of my life in and among the shore communities of South Jersey. My parents have lived in Manasquan, a small town near Point Pleasant, for 13 years prior to the storm. Their house was flooded with about two feet of water; they were lucky. Many of their neighbors had fared much worse.
As I witnessed the struggles and problems of people trying to rebuild their lives, I am working to convey the sheer power of the force that damaged people’s homes and their communities within the same image.
Hurricane Sandy is one of the many warning signs we still fail to see. Climate change is coming whether we like it or not. As a society we have some hard decisions to make before it’s too late and they are made for us."
Greg Brophy is a Brooklyn-based photographer who documents New York’s disappearing neighborhoods and the void that is left there. He primarily works with medium and large format film and often uses alternative printing methods to connect the finished piece with the subject matter.
Honors
Top 200 photographers in Photolucidia’s Critical Mass 2015
Group Exhibitions
2013 Sandy: The Once and Future Superstorm, Bergen Community College, Paramus, NJ
2013 The International Art Festival, CPW 25 Gallery, New York, NY
2013 The 5th Annual Curious Camera Event, Arts Eye Gallery, Tucson AZ
2013 Into The Blue, The Impossible Project Space New York, NY
2010 “Cold Fingers Reach Into the Night Air” Exhibited by the MTA in the 181st Street Subway New York, NY
greg@gregbrophy.com
Twitter: @gregbrophy
Instagram: @gregbrophy
Facebook: gregbrophyphoto
MELTING INTO THE OCEAN by Greg Brophy
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NOT SURE WHERE THIS GOES by Greg Brophy
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JOSHUA DOWN 1 by Henry Driftwood
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Henry Driftwood has been an illustrator and artist all his life. He has a bachelor's degree in Art from the University of Southern Mississippi, emphasizing figure drawing and design. His graphic design work has included doing illustrations and photography for books and scientific papers.
Henry’s illustrations of the astral world surrounding figures has been a pet project, starting as paintings. This has led to deep inward reflection and study, and he was able to resolve his relationship to the unseen realm.
Maintaining a positive vibration, Henry revisited creative work using photography, and he has found it a rewarding medium.
RECENT PUBLICATIONS:
The Nature of California Guidebook: Gemstones from the Pala Pegmatites - 2014 Photographer
EXPERIENCE:
Getty Conservation Institute, Brentwood, California 1993-2012
Geological Consultant on the Renaissance Bronze Project, characterizing constituents of bronze core material.
Paleontological Consultant for Antiquities/Conservation, identifying the foraminifera and mineral constituents of a limestone torso of Aphrodite.
ASSOCIATIONS:
CEO Space Inc. - entrepreneurial resource organization of more than 10,000 members, creating advanced business training mainly for innovative new energy and technology companies.
Tree People - Los Angeles based company dedicated to planting 1 million trees, sequestering carbon, etc.
Green Getty- J. Paul Getty Museum, environmental outreach group
4Rs Group Pasadena Center for Spiritual Development - environmental outreach coalition
henrydriftwood.tumblr.com
Henry’s illustrations of the astral world surrounding figures has been a pet project, starting as paintings. This has led to deep inward reflection and study, and he was able to resolve his relationship to the unseen realm.
Maintaining a positive vibration, Henry revisited creative work using photography, and he has found it a rewarding medium.
RECENT PUBLICATIONS:
The Nature of California Guidebook: Gemstones from the Pala Pegmatites - 2014 Photographer
EXPERIENCE:
Getty Conservation Institute, Brentwood, California 1993-2012
Geological Consultant on the Renaissance Bronze Project, characterizing constituents of bronze core material.
Paleontological Consultant for Antiquities/Conservation, identifying the foraminifera and mineral constituents of a limestone torso of Aphrodite.
ASSOCIATIONS:
CEO Space Inc. - entrepreneurial resource organization of more than 10,000 members, creating advanced business training mainly for innovative new energy and technology companies.
Tree People - Los Angeles based company dedicated to planting 1 million trees, sequestering carbon, etc.
Green Getty- J. Paul Getty Museum, environmental outreach group
4Rs Group Pasadena Center for Spiritual Development - environmental outreach coalition
henrydriftwood.tumblr.com
JOSHUA DOWN 2 by Henry Driftwood
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SAGUARO DOWN by Henry Driftwood
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CHERUB WITH BABY JESUS AND HIS PARENTS by Ingrid Lundquist
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Ingrid Lundquist says of her work, “I photograph candid images of people and
ordinary objects in their natural environment.
My master’s degree in Art (drawing) was abandoned to build a career as an event designer and producer. During that 40 year career time span, I keenly observed my surroundings and developed an obsession with nuance. In 2011, I joined a graduate school classmate who was teaching a photography class in Italy. Five weeks in Florence, with my first real camera, very quickly revealed my new artistic voice as a “Street Photographer.”
I don’t go in search of interesting shots, but rather the images I frame are stumbled upon, sometimes with objects appearing in precise arrangements as if waiting to be noticed. If the subject is posing, it’s for another lens, unaware of my presence. The compositions are simple, with a photojournalistic attitude as if revealing a snippet of information and begging the viewer to finish the story.
Color, as a commentary, is typically included in my photographs. Whether it is a small color accent or a bold color statement – it is a deliberate inclusion of color in the frame. As a fan of architecture, shapes and their relationship to each other are also a fascination for me. The perfect artistic expression is a compelling story told through an exacting photograph."
FiveWeeksInFLorence.com
Literary Travel Book and eBook (2017)
IngridLundquist.com ordinary objects in their natural environment.
My master’s degree in Art (drawing) was abandoned to build a career as an event designer and producer. During that 40 year career time span, I keenly observed my surroundings and developed an obsession with nuance. In 2011, I joined a graduate school classmate who was teaching a photography class in Italy. Five weeks in Florence, with my first real camera, very quickly revealed my new artistic voice as a “Street Photographer.”
I don’t go in search of interesting shots, but rather the images I frame are stumbled upon, sometimes with objects appearing in precise arrangements as if waiting to be noticed. If the subject is posing, it’s for another lens, unaware of my presence. The compositions are simple, with a photojournalistic attitude as if revealing a snippet of information and begging the viewer to finish the story.
Color, as a commentary, is typically included in my photographs. Whether it is a small color accent or a bold color statement – it is a deliberate inclusion of color in the frame. As a fan of architecture, shapes and their relationship to each other are also a fascination for me. The perfect artistic expression is a compelling story told through an exacting photograph."
FiveWeeksInFLorence.com
Literary Travel Book and eBook (2017)
GOLD RUSH TOOTH POWDER by Ingrid Lundquist
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THE WILD HORSE SANCTUARY by Ingrid Lundquist
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175 MINUTES by Jacob Weeks
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Jacob Weeks says of his work, "Death has always intrigued, interested and inspired my work as a fine art photographer whether it’s through the decay of certain landscapes or the disappearance of certain historical landmarks or part of the journey towards death itself.
Who we are? Where we are going? And why?
In our culture we do not like to discuss issues relating to death or even mention it even though the one thing that we all have in common is that one-day we will all die. As humans we are fearful of death and do not want to face it, in juxtaposition to this, we are also fascinated with death and like Freud agrees; we all have an ‘unconscious desire to die.’
This is a personal project and journey investigating what happens after we die? These series are exploring the journey of the body through cremations and the uncanny spaces of the chapels of rest. This project will bring us all closer and together and open up the taboo surrounding death with my photography, and push the viewer into spaces where they wouldn’t ideally choose to be."
www.jacobweeks.com
Who we are? Where we are going? And why?
In our culture we do not like to discuss issues relating to death or even mention it even though the one thing that we all have in common is that one-day we will all die. As humans we are fearful of death and do not want to face it, in juxtaposition to this, we are also fascinated with death and like Freud agrees; we all have an ‘unconscious desire to die.’
This is a personal project and journey investigating what happens after we die? These series are exploring the journey of the body through cremations and the uncanny spaces of the chapels of rest. This project will bring us all closer and together and open up the taboo surrounding death with my photography, and push the viewer into spaces where they wouldn’t ideally choose to be."
www.jacobweeks.com
CHAPEL OF REST by Jacob Weeks
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ONE LAST VIEW by Jacob Weeks
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LEFT IN PIECES by Janet Milhomme
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Janet Milhomme says of her work, "The images I have submitted are from my “Vanishing Oasis” series, which explores the current crisis at the Salton Sea and portrays its effects on both nature and people.
As we witness the rapid deterioration of our ecosystems, the environmental disaster slowly unfolding at the Salton Sea goes beyond the isolated situation of a dying lake and becomes the canary in the cave relative to the problems of water scarcity, pollution and overdevelopment facing California.
As scores of migrating birds seek refuge and blue herons perch majestically upon this enormous and striking oasis in the desert, its shores glimmer with the corpses of dead fish and small vertebrates. In seashore communities, attractive homes overlook docks stranded forlornly above retreating canals, while side streets give way to houses that have long since been deserted, left to be reclaimed by the wind and fetid blowing dust. As a once-vibrant community dies along with the sea, we are presented with a surreal tableau juxtaposing opportunity and loss, hope and despair, beauty and decay."
Janet Milhomme is a Los Angeles-based photographer and video artist who has worked in the fields of journalism, publishing and education. Her photos have been published internationally in newspapers, magazines and books.
In the past seven years she has had five solo exhibitions and participated in numerous juried and group exhibitions, some featuring notable curators from the Los Angeles County Museum of Art, San Francisco MOMA, Orange County Museum of Art, and Gagosian Gallery of New York.
She has received awards from many galleries as well as the New York Center for Photographic Arts, L.A. Photo Curator, and Women in Photography International (WIPI). Her photos are held in private collections throughout the U.S. and Europe.
www.janetmilhommephoto.com
As we witness the rapid deterioration of our ecosystems, the environmental disaster slowly unfolding at the Salton Sea goes beyond the isolated situation of a dying lake and becomes the canary in the cave relative to the problems of water scarcity, pollution and overdevelopment facing California.
As scores of migrating birds seek refuge and blue herons perch majestically upon this enormous and striking oasis in the desert, its shores glimmer with the corpses of dead fish and small vertebrates. In seashore communities, attractive homes overlook docks stranded forlornly above retreating canals, while side streets give way to houses that have long since been deserted, left to be reclaimed by the wind and fetid blowing dust. As a once-vibrant community dies along with the sea, we are presented with a surreal tableau juxtaposing opportunity and loss, hope and despair, beauty and decay."
Janet Milhomme is a Los Angeles-based photographer and video artist who has worked in the fields of journalism, publishing and education. Her photos have been published internationally in newspapers, magazines and books.
In the past seven years she has had five solo exhibitions and participated in numerous juried and group exhibitions, some featuring notable curators from the Los Angeles County Museum of Art, San Francisco MOMA, Orange County Museum of Art, and Gagosian Gallery of New York.
She has received awards from many galleries as well as the New York Center for Photographic Arts, L.A. Photo Curator, and Women in Photography International (WIPI). Her photos are held in private collections throughout the U.S. and Europe.
www.janetmilhommephoto.com
THIS IS WHERE PEOPLE GATHERED by Janet Milhomme
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YESTERDAYS PLEASURE by Janet Milhomme
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SUBWAY POSTER by Jean-Marie Guyaux
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Jean-Marie Guyaux says of his work, "When my camera captures a moment it will be the one that is at once graphically arresting and that simultaneously triggers a personal if not visceral emotion.
It can be often quite complex, frequently ambiguous or even distant from the recorded image by then frozen in time. It becomes a cinematic still out of an unwritten script open to one’s imagination.
It is my intent to expose the viewer to an esthetically pleasing but transitional moment that will prompt reflection.
My imagery is about the passing of time and how sudden tragedy accelerates that process. Under the disguise of a glossy surface the viewer is asked to imagine where these revealed facets of life originate from and eventually to fathom their destination.
Appreciate the offering even if damaged, wonder at what it used to be and imagine what it will befall. Sense astonishment witnessing the present, delight remembering the past and feel free to fantasize as you envision the future.
My photography mirrors my emotional, social or political state of mind as imagery confronts me in my journey."
EDUCATION:
Institute St Louis / Brussels, Belgium
School Of Visual Arts / New York, USA
The New School For Social Research / New York, USA
REGISTRIES:
*WhiteColumns.org:
http://registry.whitecolumns.org/view_artist.php?artist=12747
*Long Island City Artists.org:
http://www.licartists.org/jean-marie-guyaux
*PS1.org (2012):
http://ps1.org/studio-visit/artist/jean-marie-guyaux
PUBLIC ART:
Two murals in the Zipper Building in Long Island City commissioned by the VANBARTON GROUP. Installation: mid-October 2016
RECENT EXHIBITIONS:
2016
AKC MEDICA and ACADEMY of FINE ARTS, Zagreb, Croatia /
Icons: Mickey #1, Mac & Cheese #1
uBe ART GALLERY, Berkeley, CA / Still life: Past, Present, Future /
Icons: Nice Day
ENABLE BASIN EVENT SPACE, Long Island City, NY / Curator: William Garret. Sponsor Plaxall Inc, LIC. / Icons: Mickey #1 as plastic tryptic
PIERRO GALLERY, South Orange, New Jersey / Curators: Meghan Maloney and Wannita Makaroon, Seton Hall University / Icons: various
LOCAL PROJECT, Long Island City, NYC / Curator: John Baber / Icons: Burger #5 + Mac & Cheese #1
SIKKEMA JENKINS & Co, NYC / “Postcard from the Edge” Visual Aids Benefit / Icons: Warhol
jmguyauxvisuals.com
It can be often quite complex, frequently ambiguous or even distant from the recorded image by then frozen in time. It becomes a cinematic still out of an unwritten script open to one’s imagination.
It is my intent to expose the viewer to an esthetically pleasing but transitional moment that will prompt reflection.
My imagery is about the passing of time and how sudden tragedy accelerates that process. Under the disguise of a glossy surface the viewer is asked to imagine where these revealed facets of life originate from and eventually to fathom their destination.
Appreciate the offering even if damaged, wonder at what it used to be and imagine what it will befall. Sense astonishment witnessing the present, delight remembering the past and feel free to fantasize as you envision the future.
My photography mirrors my emotional, social or political state of mind as imagery confronts me in my journey."
EDUCATION:
Institute St Louis / Brussels, Belgium
School Of Visual Arts / New York, USA
The New School For Social Research / New York, USA
REGISTRIES:
*WhiteColumns.org:
http://registry.whitecolumns.org/view_artist.php?artist=12747
*Long Island City Artists.org:
http://www.licartists.org/jean-marie-guyaux
*PS1.org (2012):
http://ps1.org/studio-visit/artist/jean-marie-guyaux
PUBLIC ART:
Two murals in the Zipper Building in Long Island City commissioned by the VANBARTON GROUP. Installation: mid-October 2016
RECENT EXHIBITIONS:
2016
AKC MEDICA and ACADEMY of FINE ARTS, Zagreb, Croatia /
Icons: Mickey #1, Mac & Cheese #1
uBe ART GALLERY, Berkeley, CA / Still life: Past, Present, Future /
Icons: Nice Day
ENABLE BASIN EVENT SPACE, Long Island City, NY / Curator: William Garret. Sponsor Plaxall Inc, LIC. / Icons: Mickey #1 as plastic tryptic
PIERRO GALLERY, South Orange, New Jersey / Curators: Meghan Maloney and Wannita Makaroon, Seton Hall University / Icons: various
LOCAL PROJECT, Long Island City, NYC / Curator: John Baber / Icons: Burger #5 + Mac & Cheese #1
SIKKEMA JENKINS & Co, NYC / “Postcard from the Edge” Visual Aids Benefit / Icons: Warhol
jmguyauxvisuals.com
CRUSH NO 77 by Jean-Marie Guyaux
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LINCOLN TOWN CAR 2007 BY Jean-Marie Guyaux
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BORDER by Jeff Alu
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Jeff Alu says of his work, "My style hovers between documentary and a semi-dreamlike state.
I’m constantly searching for what I like to call “clues.” These clues generally represent the initiation of questions that should be asked, rather than answers to pre-defined questions. I never have a set idea of what it is I’m looking for. I simply seek, occasionally finding exactly what it is I wasn’t seeking. For me, that’s the time I learn something new about life: when I discover a new path, a new way of seeing, a new reason for continuing my search."
Jeff Alu is an experimental artist whos work crosses a line between science and art. Before he considered himself to be an artist, he spent a number of years working at the Jet Propulsion Lab in Pasadena, CA.
This after having dropped out of school at the Eastman School of Music in Rochester N.Y, finding it difficult to function in that ordered environment when in fact his thought patterns were very spontaneous. At that time he wasn't sure what he wanted to become, and the pressures of percieved perfection around him were not helping him to find out.
The Job at the Jet Propulsion Lab was a turning point. It involved hunting for near-earth asteroinds and comets utilzing the 18" Schmidt Telescope at Palomar Observatory.
The entire experience was mind expansive and allowed Jeff to do what he loved: Contemplate. He was not, in fact, a true scientist at all, and romantisized feelings invaded his scientific duties at every turn. Now finally, he began to realize that communication of ideas through sound and light were of utmost importance to him, and once his hunt for asteroids had come to an end, a replacement for that hunt needed to be found.
Breaking out to the desert, he searched for visual symbols, and after a while it occured to him to record them. Once he began recording them, new worlds revealed themselves. At first, still capture was the choice, until motion became as important.
He began to realize that what he percieved as the world around him was infact made up of countless visual micro worlds, each of equal importance. Later, the realization struck him that he had felt this way his entire life.
And so the search contiunes...
Recent Solo Exhibitions:
2015 Seeing More Within, Los Angeles Center for Digital Art, Los Angeles, CA
2014 DESERTSCAPES:OUTLIERS, Marks Art Center, Palm Desert, CA
Recent Selected Exhibitions
2016 Collaboration, Santa Monica College Barrett Art Gallery, Santa Monica, CA
2016 Hive Gallery, Downtown Los Angeles, CA
2016 L.A.ndscapes, Los Angeles Center for Digital Art, Los Angeles, CA
2016 Things Fall Apart, Art Share L.A., Los Angeles, CA
http://www.jeffalu.com
I’m constantly searching for what I like to call “clues.” These clues generally represent the initiation of questions that should be asked, rather than answers to pre-defined questions. I never have a set idea of what it is I’m looking for. I simply seek, occasionally finding exactly what it is I wasn’t seeking. For me, that’s the time I learn something new about life: when I discover a new path, a new way of seeing, a new reason for continuing my search."
Jeff Alu is an experimental artist whos work crosses a line between science and art. Before he considered himself to be an artist, he spent a number of years working at the Jet Propulsion Lab in Pasadena, CA.
This after having dropped out of school at the Eastman School of Music in Rochester N.Y, finding it difficult to function in that ordered environment when in fact his thought patterns were very spontaneous. At that time he wasn't sure what he wanted to become, and the pressures of percieved perfection around him were not helping him to find out.
The Job at the Jet Propulsion Lab was a turning point. It involved hunting for near-earth asteroinds and comets utilzing the 18" Schmidt Telescope at Palomar Observatory.
The entire experience was mind expansive and allowed Jeff to do what he loved: Contemplate. He was not, in fact, a true scientist at all, and romantisized feelings invaded his scientific duties at every turn. Now finally, he began to realize that communication of ideas through sound and light were of utmost importance to him, and once his hunt for asteroids had come to an end, a replacement for that hunt needed to be found.
Breaking out to the desert, he searched for visual symbols, and after a while it occured to him to record them. Once he began recording them, new worlds revealed themselves. At first, still capture was the choice, until motion became as important.
He began to realize that what he percieved as the world around him was infact made up of countless visual micro worlds, each of equal importance. Later, the realization struck him that he had felt this way his entire life.
And so the search contiunes...
Recent Solo Exhibitions:
2015 Seeing More Within, Los Angeles Center for Digital Art, Los Angeles, CA
2014 DESERTSCAPES:OUTLIERS, Marks Art Center, Palm Desert, CA
Recent Selected Exhibitions
2016 Collaboration, Santa Monica College Barrett Art Gallery, Santa Monica, CA
2016 Hive Gallery, Downtown Los Angeles, CA
2016 L.A.ndscapes, Los Angeles Center for Digital Art, Los Angeles, CA
2016 Things Fall Apart, Art Share L.A., Los Angeles, CA
http://www.jeffalu.com
FLOATER by Jeff Alu
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STRUCTURE by Jeff Alu
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TO SEE GROUP EXHIBITION #3 CLICK HERE:
http://laphotocurator.com/what-remains-curator-jody-miller/group-exhibition-3/1
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TO SEE GROUP EXHIBITION #3 CLICK HERE:
http://laphotocurator.com/what-remains-curator-jody-miller/group-exhibition-3/1
