A THOUSAND WORDS- Erica Kelly Martin & Rollence Patugan > Exhibition #1
Exhibition #1
Alena Grom/Albina
Alena Grom/Diana
Alena Grom/Alyona
FIRST PLACE
FIRST PLACE
If viewing on a computer click on arrow to continue
Alena Grom/Julia
Alena Grom/Svetlana
Alena Grom/Tetiana
Jurors Erica Martin Kelly and Rollence Patugan Review 1st Place Winner Alena Grom image "Alyona":
"This powerful photograph creates a striking contrast between the subject and the scenes depicted in the background. The juxtaposition of a ruined home suggests a story of loss—perhaps due to war or a natural disaster—inviting the viewer to wonder if the person in the foreground once lived there. The serene, idyllic landscape in the second background photo evokes a time before the destruction, possibly hinting at a more peaceful era. Together, these elements tell a story of resilience, offering a poignant reflection on how individuals or communities endure despite harsh circumstances.
The cold, gloomy weather in the foreground complements the somber setting, while the warm, inviting scene in the background photograph creates a dynamic contrast, heightening the tension between the perceived reality and a more hopeful past. This intriguing photograph raises more questions than it answers, but perhaps that is part of its power. After all, closure is not always attainable in life, and sometimes the questions themselves are what leave the most lasting impact."
Stolen Spring
"I live in Bucha and work in Irpin. After the Russian occupation, these cities were destroyed. The military landscape has become my reality and routine. Every day I see people who are restoring their cities, their personal lives from the ruins and looking into the future. I created a series of photographs in a historical dialogue with images by Polish photographer Michael Nash, who captured how the photographer used a decorative backdrop to mask the ruins of Warsaw during World War II in 1945-1946. The heroes of my photographs are women who became victims of Russian aggression.
The occupation continued in the spring, people who survived this tragic period did not notice how spring passed, how chestnuts and lilies of the valley bloomed, birds flew in. They were deprived not only of their homes, loved ones, work, health, but also part of their lives. IDPs from Donbass and Crimea have a second tragic spring. A stolen spring is a stolen life. Each photo is a personal tragedy, but it is also a life-affirming story of a survivor, a hope that Ukraine will rise from the ruins."
Ukrainian artist and documentary photographer Alena Grom was born in Donetsk. In April 2014, she was compelled to leave her hometown due to the military conflict in Eastern Ukraine. Since 2017, she has resided in Bucha, a town near Kyiv.
These experiences have profoundly influenced her artistic practice. Photography has served as a lifeline for her, allowing her to confront the traumatic realities of war. Since 2016, Alena Grom has centered her work on locations affected by military aggression, capturing the lives of war victims, migrants, refugees, and
Grom operates at the confluence of social reporting and conceptual photography, often working on her themes from the front lines. She perceives her “mission” as documenting the lives of individuals caught in the “gray zones” or near military conflicts. Through her photographs, she aims to inform the global community about the complexities of wartime life.
Importantly, her images do not exist merely as illustrations of sorrow or grief. One of her primary themes is the persistence of life amidst adversity.
Alena Grom has received recognition as a laureate and winner in numerous international photography contests. To see her CV go to her website.
Jurors Erica Martin Kelly and Rollence Patugan ask Alena Grom, "Where are the locations of both environments?"
Alena Grom says, "I live in Bucha and work in Irpin. After the Russian occupation, these cities were destroyed. I created the photo project "Stolen Spring" in the de-occupied Bucha district of Kyiv Oblast. I took the photograph of Alena in Irpin, amidst the ruins of a house in her hometown."
Jurors: "What significance do the two locations have with the subject?"
Grom says, "The heroines of my photographs are women who have become victims of Russian aggression. They have lost not only their homes, loved ones, jobs, and health but also parts of their lives. One of them, Alena, a resident of Irpin, spent the first weeks in her city. She witnessed how the Russian troops attacked Irpin, and she saw neighbors and loved ones get injured. Under bombardment, she left the city on foot with her son and her mother in a wheelchair. After the de-occupation, Alena returned home with her family and saw that their city was destroyed. By the time of liberation, 1,000 buildings had been damaged in Irpin, which accounts for 71% of the city's buildings. Alena's house was also damaged during the fighting.
The woman stands amidst the ruins of a house in her hometown, symbolizing not only physical destruction but also the profound loss that she and other residents of Irpin will have to confront. These ruins embody shattered destinies and irreparable losses, and despite the horrors of war, Alena becomes a symbol of resilience and courage. This image serves as a reminder of the importance of memory, restoration, and the necessity of preserving human dignity and hope for a better future."
Jurors say, "Why did you create this image and series?"
Grom says, "I created this series of photographs after the cities in the Bucha district were destroyed during the Russian occupation. The military landscape became my reality and routine, and every day I witness how people are rebuilding their cities and personal lives from the ruins and looking toward the future. My work engages in a historical dialogue with the photographs of Polish photographer Michał Naas, who captured the process of masking the ruins of Warsaw in 1945-1946. The heroes of my pictures are women who have become victims of Russian aggression, who survived the occupation and did not notice how spring passed. They lost their homes, loved ones, jobs, health, and parts of their lives, as for the displaced persons from Donbas and Crimea, this is their second tragic spring. A stolen spring is a stolen life. Each photograph represents a personal tragedy, but it is also an uplifting story of survival and hope that Ukraine can rise from the ruins."
Jurors ask, "What would you like viewers to take away when viewing your work?"
Grom says, "I would like viewers to take away an understanding of the depth of suffering and loss experienced by women who have become victims of Russian aggression from viewing my work. My goal is to show that despite the tragedies, people continue striving for recovery and a new life. I hope my photographs help to see in these stories not only pain but also strength, resilience, and faith in Ukraine's future. I want viewers to reflect on the importance of support, understanding, and solidarity with those who find themselves in difficult circumstances. Each image is a call to remember those who are suffering and a reminder that life, despite all adversities, continues, and new hope is born."
www.alenagrom.com
www.instagram.com/grom_alena/
If viewing on a computer click on arrow to go to the next page
"This powerful photograph creates a striking contrast between the subject and the scenes depicted in the background. The juxtaposition of a ruined home suggests a story of loss—perhaps due to war or a natural disaster—inviting the viewer to wonder if the person in the foreground once lived there. The serene, idyllic landscape in the second background photo evokes a time before the destruction, possibly hinting at a more peaceful era. Together, these elements tell a story of resilience, offering a poignant reflection on how individuals or communities endure despite harsh circumstances.
The cold, gloomy weather in the foreground complements the somber setting, while the warm, inviting scene in the background photograph creates a dynamic contrast, heightening the tension between the perceived reality and a more hopeful past. This intriguing photograph raises more questions than it answers, but perhaps that is part of its power. After all, closure is not always attainable in life, and sometimes the questions themselves are what leave the most lasting impact."
Stolen Spring
"I live in Bucha and work in Irpin. After the Russian occupation, these cities were destroyed. The military landscape has become my reality and routine. Every day I see people who are restoring their cities, their personal lives from the ruins and looking into the future. I created a series of photographs in a historical dialogue with images by Polish photographer Michael Nash, who captured how the photographer used a decorative backdrop to mask the ruins of Warsaw during World War II in 1945-1946. The heroes of my photographs are women who became victims of Russian aggression.
The occupation continued in the spring, people who survived this tragic period did not notice how spring passed, how chestnuts and lilies of the valley bloomed, birds flew in. They were deprived not only of their homes, loved ones, work, health, but also part of their lives. IDPs from Donbass and Crimea have a second tragic spring. A stolen spring is a stolen life. Each photo is a personal tragedy, but it is also a life-affirming story of a survivor, a hope that Ukraine will rise from the ruins."
Ukrainian artist and documentary photographer Alena Grom was born in Donetsk. In April 2014, she was compelled to leave her hometown due to the military conflict in Eastern Ukraine. Since 2017, she has resided in Bucha, a town near Kyiv.
These experiences have profoundly influenced her artistic practice. Photography has served as a lifeline for her, allowing her to confront the traumatic realities of war. Since 2016, Alena Grom has centered her work on locations affected by military aggression, capturing the lives of war victims, migrants, refugees, and
Grom operates at the confluence of social reporting and conceptual photography, often working on her themes from the front lines. She perceives her “mission” as documenting the lives of individuals caught in the “gray zones” or near military conflicts. Through her photographs, she aims to inform the global community about the complexities of wartime life.
Importantly, her images do not exist merely as illustrations of sorrow or grief. One of her primary themes is the persistence of life amidst adversity.
Alena Grom has received recognition as a laureate and winner in numerous international photography contests. To see her CV go to her website.
Jurors Erica Martin Kelly and Rollence Patugan ask Alena Grom, "Where are the locations of both environments?"
Alena Grom says, "I live in Bucha and work in Irpin. After the Russian occupation, these cities were destroyed. I created the photo project "Stolen Spring" in the de-occupied Bucha district of Kyiv Oblast. I took the photograph of Alena in Irpin, amidst the ruins of a house in her hometown."
Jurors: "What significance do the two locations have with the subject?"
Grom says, "The heroines of my photographs are women who have become victims of Russian aggression. They have lost not only their homes, loved ones, jobs, and health but also parts of their lives. One of them, Alena, a resident of Irpin, spent the first weeks in her city. She witnessed how the Russian troops attacked Irpin, and she saw neighbors and loved ones get injured. Under bombardment, she left the city on foot with her son and her mother in a wheelchair. After the de-occupation, Alena returned home with her family and saw that their city was destroyed. By the time of liberation, 1,000 buildings had been damaged in Irpin, which accounts for 71% of the city's buildings. Alena's house was also damaged during the fighting.
The woman stands amidst the ruins of a house in her hometown, symbolizing not only physical destruction but also the profound loss that she and other residents of Irpin will have to confront. These ruins embody shattered destinies and irreparable losses, and despite the horrors of war, Alena becomes a symbol of resilience and courage. This image serves as a reminder of the importance of memory, restoration, and the necessity of preserving human dignity and hope for a better future."
Jurors say, "Why did you create this image and series?"
Grom says, "I created this series of photographs after the cities in the Bucha district were destroyed during the Russian occupation. The military landscape became my reality and routine, and every day I witness how people are rebuilding their cities and personal lives from the ruins and looking toward the future. My work engages in a historical dialogue with the photographs of Polish photographer Michał Naas, who captured the process of masking the ruins of Warsaw in 1945-1946. The heroes of my pictures are women who have become victims of Russian aggression, who survived the occupation and did not notice how spring passed. They lost their homes, loved ones, jobs, health, and parts of their lives, as for the displaced persons from Donbas and Crimea, this is their second tragic spring. A stolen spring is a stolen life. Each photograph represents a personal tragedy, but it is also an uplifting story of survival and hope that Ukraine can rise from the ruins."
Jurors ask, "What would you like viewers to take away when viewing your work?"
Grom says, "I would like viewers to take away an understanding of the depth of suffering and loss experienced by women who have become victims of Russian aggression from viewing my work. My goal is to show that despite the tragedies, people continue striving for recovery and a new life. I hope my photographs help to see in these stories not only pain but also strength, resilience, and faith in Ukraine's future. I want viewers to reflect on the importance of support, understanding, and solidarity with those who find themselves in difficult circumstances. Each image is a call to remember those who are suffering and a reminder that life, despite all adversities, continues, and new hope is born."
www.alenagrom.com
www.instagram.com/grom_alena/
If viewing on a computer click on arrow to go to the next page
Beth Galton/Broken Record
BEST SERIES
BEST SERIES
Beth Galton/Counting Candles
Beth Galton/Follow the path
If viewing on a computer click on arrow to continue
Beth Galton/Passed from Generation
Beth Galton/I see myself reflected
Beth Galton/To make starch stir flour
Jurors Erica Kelly Martin and Rollence Patugan Review of Series Wininer - Beth Galton:
"The careful selection and arrangement of artifacts in this photography series convey deeply personal and significant stories. In "Passed from Generation", the objects in the foreground serve as visual notes on blank sheets of music, symbolizing how, like musical notes, these items bring life and meaning to the photograph. The composition suggests that these objects, much like music, are a form of expression and connection across time.
In "To Make Starch Stir Flour", the photograph highlights the central role of food in cultural traditions. The heirlooms passed down through generations—along with handwritten recipes and an embroidered cloth—evoke a sense of nostalgia, linking the viewer to another era. This piece underscores how food, much like music, can be a vital thread connecting people to their heritage.
Each photograph is thoughtfully composed to create a dialogue between the viewer and the image, inviting reflection on the significance of these personal objects. The series as a whole offers a visual narrative of tradition, memory, and cultural."
- Erica Martin Kelly
- Rollence Patugan
BETH GALTON says of her series, "MEMORY OF ABSENCE", "So much of who we are is passed from generation to generation—our genes, our behaviors - molded by our parents and grandparents. My mother’s relationship with her mother was fraught with difficulties and these same dynamics were passed onto me. I’ve spent many years contending with these issues by first becoming overly involved in my mother’s life and then ultimately removing myself.
In 2017, my mother and father - who had not lived together for 50 years by that time - died within three days of each other. After my sister and I inherited my mother’s home, we were startled to find the extent to which she had been hoarding. We discovered her journals, copious letters written to family members and never sent, everyday objects and photographs depicting many family scenes that I have no memory of. A profound sadness combined with these surprising discoveries led to my creating this body of work exploring feelings, memories and even buried memories – all brought to the surface through these revelations.
In this series, Memory of Absence, I combined botanicals and natural materials together with the everyday objects and family photographs in order to convey a sense of memory and loss. The organic and volatile botanicals serve as a reminder of the ever-changing nature of memory and emotions—an unstable and profoundly unreliable process, as fragile as scraps of embroidery as complicated and garbled as tangles of magnetic tape. Text plays a key role as well, her words intertwined with mine.
My creative process begins with composing and photographing a still life of the botanicals together with the objects that I have collected and saved from my mother’s home. I then print out the image, create yet another still life by layering more objects with the print and then re-photograph this composition. Thereby giving a further sense of the complex and layered emotions found within family dynamics."
Beth Galton is a photo-based artist, with an educational background in the natural sciences and three decades of experience as a professional photographer in the editorial and commercial arena. These elements of her history are the lens through which she explores the world.
Collecting objects, allowing time to affect botanical matter, these are the tools Beth uses to construct still life portraits. The stories speak to the cycles of nature, our connection to aging and mortality, and the fragility and resilience of the human experience. As a lifelong learner, Beth uses current technology to help articulate her message. She loves to harness natural light to capture the compositions by using a large format camera and digital back.
Beth’s fine art and professional work have won numerous accolades and been exhibited extensively throughout her career. Several of her personal projects have gained national and international regard.They have been seen at The Delaware Contemporary Museum, Wilmington Delaware, Montpellier Contemporian, Montpellier France, Wave Hill, Riverdale NY, The Center for Fine Art Photography in Colorado, the Center for Photographic Art in California, Beth Urdang Gallery in Boston and was part of ‘The Fence’, a traveling outdoor exhibition shown in seven cities across the country.
Beth has received many awards, most recently the Sony World Photography award , 23rd Julia Margaret Camera award, FMoPA, IPA Awards, Graphis, Communication Arts and the PDN Taste Awards. Beth lives and works in New York City, where she is moved and inspired by the city every day.
Images for sale
Broken record
Archival Ink Jet paper
Unframed $1500
20 x 16 inches
Edition of 10
Signed labels
Counting candles
Archival Ink Jet paper
Unframed $1500
20 x 16 inches
Edition of 10
Signed labels
Follow the path
Archival Ink Jet paper
Unframed $1500
20 x 16 inches
Edition of 10
Signed labels
I see myself reflected
Archival Ink Jet paper
Unframed $1500
20 x 16 inches
Edition of 10
Signed labels
Passed from generation
Archival Ink Jet paper
Unframed $1500
20 x 16 inches
Edition of 10
Signed labels
To make starch, stir flour
Archival Ink Jet paper
Unframed $1500
20 x 16 inches
Edition of 10
Signed labels
Contact-
Beth Galton, beth@bethgalton.com
https://bethgalton.com
https://www.bethgaltonfineart.com
If viewing on a computer click on arrow to continue
"The careful selection and arrangement of artifacts in this photography series convey deeply personal and significant stories. In "Passed from Generation", the objects in the foreground serve as visual notes on blank sheets of music, symbolizing how, like musical notes, these items bring life and meaning to the photograph. The composition suggests that these objects, much like music, are a form of expression and connection across time.
In "To Make Starch Stir Flour", the photograph highlights the central role of food in cultural traditions. The heirlooms passed down through generations—along with handwritten recipes and an embroidered cloth—evoke a sense of nostalgia, linking the viewer to another era. This piece underscores how food, much like music, can be a vital thread connecting people to their heritage.
Each photograph is thoughtfully composed to create a dialogue between the viewer and the image, inviting reflection on the significance of these personal objects. The series as a whole offers a visual narrative of tradition, memory, and cultural."
- Erica Martin Kelly
- Rollence Patugan
BETH GALTON says of her series, "MEMORY OF ABSENCE", "So much of who we are is passed from generation to generation—our genes, our behaviors - molded by our parents and grandparents. My mother’s relationship with her mother was fraught with difficulties and these same dynamics were passed onto me. I’ve spent many years contending with these issues by first becoming overly involved in my mother’s life and then ultimately removing myself.
In 2017, my mother and father - who had not lived together for 50 years by that time - died within three days of each other. After my sister and I inherited my mother’s home, we were startled to find the extent to which she had been hoarding. We discovered her journals, copious letters written to family members and never sent, everyday objects and photographs depicting many family scenes that I have no memory of. A profound sadness combined with these surprising discoveries led to my creating this body of work exploring feelings, memories and even buried memories – all brought to the surface through these revelations.
In this series, Memory of Absence, I combined botanicals and natural materials together with the everyday objects and family photographs in order to convey a sense of memory and loss. The organic and volatile botanicals serve as a reminder of the ever-changing nature of memory and emotions—an unstable and profoundly unreliable process, as fragile as scraps of embroidery as complicated and garbled as tangles of magnetic tape. Text plays a key role as well, her words intertwined with mine.
My creative process begins with composing and photographing a still life of the botanicals together with the objects that I have collected and saved from my mother’s home. I then print out the image, create yet another still life by layering more objects with the print and then re-photograph this composition. Thereby giving a further sense of the complex and layered emotions found within family dynamics."
Beth Galton is a photo-based artist, with an educational background in the natural sciences and three decades of experience as a professional photographer in the editorial and commercial arena. These elements of her history are the lens through which she explores the world.
Collecting objects, allowing time to affect botanical matter, these are the tools Beth uses to construct still life portraits. The stories speak to the cycles of nature, our connection to aging and mortality, and the fragility and resilience of the human experience. As a lifelong learner, Beth uses current technology to help articulate her message. She loves to harness natural light to capture the compositions by using a large format camera and digital back.
Beth’s fine art and professional work have won numerous accolades and been exhibited extensively throughout her career. Several of her personal projects have gained national and international regard.They have been seen at The Delaware Contemporary Museum, Wilmington Delaware, Montpellier Contemporian, Montpellier France, Wave Hill, Riverdale NY, The Center for Fine Art Photography in Colorado, the Center for Photographic Art in California, Beth Urdang Gallery in Boston and was part of ‘The Fence’, a traveling outdoor exhibition shown in seven cities across the country.
Beth has received many awards, most recently the Sony World Photography award , 23rd Julia Margaret Camera award, FMoPA, IPA Awards, Graphis, Communication Arts and the PDN Taste Awards. Beth lives and works in New York City, where she is moved and inspired by the city every day.
Images for sale
Broken record
Archival Ink Jet paper
Unframed $1500
20 x 16 inches
Edition of 10
Signed labels
Counting candles
Archival Ink Jet paper
Unframed $1500
20 x 16 inches
Edition of 10
Signed labels
Follow the path
Archival Ink Jet paper
Unframed $1500
20 x 16 inches
Edition of 10
Signed labels
I see myself reflected
Archival Ink Jet paper
Unframed $1500
20 x 16 inches
Edition of 10
Signed labels
Passed from generation
Archival Ink Jet paper
Unframed $1500
20 x 16 inches
Edition of 10
Signed labels
To make starch, stir flour
Archival Ink Jet paper
Unframed $1500
20 x 16 inches
Edition of 10
Signed labels
Contact-
Beth Galton, beth@bethgalton.com
https://bethgalton.com
https://www.bethgaltonfineart.com
If viewing on a computer click on arrow to continue
Eric M. Renard/Hiding in Plain Sight
Eric M. Renard/Showdown in Fez
Eric M. Renard/Siesta in Marrakesh
SECOND PLACE
SECOND PLACE
Eric M Renard's work has found its way into art galleries in London, Budapest, Greece,Mexico, Brazil and across the Unites States. Eric’s photography has received numerous awards and been published in books and photography magazines, including the cover of Black & White magazine.
Eric Renard’s recent exhibitions “Slice of Light”, “Nobody Walk in L.A.”, “Soul of a City” and “Urbanity in Black and White” focused on high contrast, urban cityscapes, reflecting an eerie sense of peace and tranquility. The cityscape is the hero of these photographs, with the people in them subject to the power of their surroundings. At a recent awards ceremony, renowned L.A. art critic, Edward Goldman stated “I wouldnt be surprised if the Getty Museum would like to have his work in their collection”.
Solo Exhibitions include: The Sasse Art Museum “Nobody Walks in L.A.” Pomona, CA, Oct. 12-Dec. 3, 2023, TAG Gallery “Urbanity in Black and White” Los Angeles, CA April 2023, Fabrik Gallery “The Space Between” Los Angeles, CA, 2020
House of Lucie “Abandoned Spaces & Urban Places” Los Angeles, CA and 2019
The Seyhoun Gallery “Photography by Eric M Renard” West Hollywood, CA, February 2015.
Images for Sale-
Siesta in Marrakesh - 21"H x 16" W
Archival paper
$450 unframed
Limited edition of 12
Signed on front
Hiding in Plain Sight - 21"H x 16" W
Archival paper
$450 unframed
Limited edition of 12
Signed on front
Showdown in Fez - 21"H x 16" W
Archival paper
$450 unframed
Limited edition of 12
Signed on front
Contact-
Eric M. Renard
www.ericrenardphotography.com
www.instagram.com/Renard_Photo
Eric Renard’s recent exhibitions “Slice of Light”, “Nobody Walk in L.A.”, “Soul of a City” and “Urbanity in Black and White” focused on high contrast, urban cityscapes, reflecting an eerie sense of peace and tranquility. The cityscape is the hero of these photographs, with the people in them subject to the power of their surroundings. At a recent awards ceremony, renowned L.A. art critic, Edward Goldman stated “I wouldnt be surprised if the Getty Museum would like to have his work in their collection”.
Solo Exhibitions include: The Sasse Art Museum “Nobody Walks in L.A.” Pomona, CA, Oct. 12-Dec. 3, 2023, TAG Gallery “Urbanity in Black and White” Los Angeles, CA April 2023, Fabrik Gallery “The Space Between” Los Angeles, CA, 2020
House of Lucie “Abandoned Spaces & Urban Places” Los Angeles, CA and 2019
The Seyhoun Gallery “Photography by Eric M Renard” West Hollywood, CA, February 2015.
Images for Sale-
Siesta in Marrakesh - 21"H x 16" W
Archival paper
$450 unframed
Limited edition of 12
Signed on front
Hiding in Plain Sight - 21"H x 16" W
Archival paper
$450 unframed
Limited edition of 12
Signed on front
Showdown in Fez - 21"H x 16" W
Archival paper
$450 unframed
Limited edition of 12
Signed on front
Contact-
Eric M. Renard
www.ericrenardphotography.com
www.instagram.com/Renard_Photo
Eric Davidove/Medical 01
Eric Davidove/Three Men 03
Eric Davidove/Sniff 03
Eric Davidove/Broken Arm 04
Eric Davidove/In the Dark 05
Eric Davidove/Number 9 06
Eric Davidove:
San Francisco in September
"The leather, fetish, and LGBQT sub-cultures in San Francisco, California, have been around for many years and are formally celebrated during various single-day outdoor spectator events.
My photographic goal is to capture candid, quirky, humorous moments with strong story potential and a common aesthetic thread. I purposely avoid taking photos that have shock value, such as people engaged in sexual acts. Staged portraitures and photos of naked people standing around are also less interesting to me. I ask myself how most people might take a photograph and then try to do something different.
I explore the outer edges or areas less traveled. I often stand in one location for longer periods, especially in locations with vibrant colors and shapes, dramatic lighting, and workable backgrounds. I am deliberate, patient, and discerning - shooting far fewer photos than my usual street routines. I intend to look for that special moment or people.
My many years as a street mime have strongly influenced my photographic voice. I learned how to anticipate and respond to human behavior to make people laugh. So it’s no surprise that many of my street photos are decisive and quirky.
As a street photographer, I hunt for candid moments without preconceived notions or project plans. Instincts and subconsciousness are my guide. My photos were varied when I started as a street photographer. Over time, my photographic voice has become more defined, consistent, distinct, and recognizable.
The meditative process of street photography and being present have been, and continue to be, the most attractive things for me. I try not to worry about how people will judge my work or how many good photos I get at the end of a shooting day. There are several shooting days when I don’t even get a good photo. That’s fine with me as long as I learned, had fun, and exercised.
I want my photos to inspire people to pay more attention when they’re out and about. To be present without wanting to be somewhere else, without being in their head or lost in thought. That’s when life is more real."
All images for sale, $150 unframed 12x18 or $250 unframed 18x24. Eric Davidove, edovephotos@gmail.com--
San Francisco in September - Eric Davidove
The leather, fetish, and LGBQT sub-cultures in San Francisco, California, have been around for many years and are formally celebrated during various single-day outdoor spectator events.
www.edovephotos.myportfolio.com
www.instagram.com/edovephotos
San Francisco in September
"The leather, fetish, and LGBQT sub-cultures in San Francisco, California, have been around for many years and are formally celebrated during various single-day outdoor spectator events.
My photographic goal is to capture candid, quirky, humorous moments with strong story potential and a common aesthetic thread. I purposely avoid taking photos that have shock value, such as people engaged in sexual acts. Staged portraitures and photos of naked people standing around are also less interesting to me. I ask myself how most people might take a photograph and then try to do something different.
I explore the outer edges or areas less traveled. I often stand in one location for longer periods, especially in locations with vibrant colors and shapes, dramatic lighting, and workable backgrounds. I am deliberate, patient, and discerning - shooting far fewer photos than my usual street routines. I intend to look for that special moment or people.
My many years as a street mime have strongly influenced my photographic voice. I learned how to anticipate and respond to human behavior to make people laugh. So it’s no surprise that many of my street photos are decisive and quirky.
As a street photographer, I hunt for candid moments without preconceived notions or project plans. Instincts and subconsciousness are my guide. My photos were varied when I started as a street photographer. Over time, my photographic voice has become more defined, consistent, distinct, and recognizable.
The meditative process of street photography and being present have been, and continue to be, the most attractive things for me. I try not to worry about how people will judge my work or how many good photos I get at the end of a shooting day. There are several shooting days when I don’t even get a good photo. That’s fine with me as long as I learned, had fun, and exercised.
I want my photos to inspire people to pay more attention when they’re out and about. To be present without wanting to be somewhere else, without being in their head or lost in thought. That’s when life is more real."
All images for sale, $150 unframed 12x18 or $250 unframed 18x24. Eric Davidove, edovephotos@gmail.com--
San Francisco in September - Eric Davidove
The leather, fetish, and LGBQT sub-cultures in San Francisco, California, have been around for many years and are formally celebrated during various single-day outdoor spectator events.
www.edovephotos.myportfolio.com
www.instagram.com/edovephotos
Gun Roze/ Screaming Baby-06_03_2019
Gun Roze/#2-Screaming Baby-07_25_2019
Gun Roze/#4-Screaming Baby-09_16_2019
If viewing on a computer click on arrow to continue
Gun Roze/#6-Screaming Baby-03_14_2020
Gun Roze/ #11 Screaming Baby-08_04_2020
Gun Roze/#16-Screaming Baby-01_25_2021
Screaming Baby by Gun Roze
"I photographed my Screaming Baby series over a period of almost 2 years. I first noticed the baby’s screaming bright red mouth emerging on the postered construction site wall up the street of my house. Each time I passed by and noticed a change had occurred, I took a photo or two. The changes were a result of weather exposure, a passersby’s tearing, or a street artist's contribution. Layers of paper were peeling back to reveal more of the baby’s loudly expressive face. The screaming baby was saying something different to me with each encounter and alteration.
As I began to share my images, the interpretations and comments I received covered a full range of emotions- from compassion to horror inducing. The intense primal scream seemed to trigger the screaming baby within many. People’s projections revealed quite a bit about their own childhood or how a wailing infant affected them. As the baby’s one eye was gradually revealed, this heightened the emotional impact of the images. Eventually, due to time and wear, the baby’s face is reduced down to a portion of its screaming full mouth. The scream’s impact is less audible. "
Gun Roze is a Toronto-born Fine Art Photographer. Gun’s essential photographic knowledge was gained throughout his 35 year career as a Master Analog Printer for professional photographers. His expertise brought him work opportunities in Vancouver, San Francisco and New York City. 2012 was a defining year for Gun’s photographic direction after rediscovering negatives photographed during two trips to Manhattan forty years earlier. This inspired him to return to street-based photography which remains his daily practice since relocating to Toronto in 2015. Gun has received two artist grants and has had eleven solo shows in Toronto in the past nine years.
IMAGES FOR SALE
Title- #2-Screaming Baby-06/03/2019- 11"x14"
Archival Paper- Hahnemuhle Fine Art Baryta Satin
Price Unframed- $250
Limited Edition- 25
Signed on back
Title- #2-Screaming Baby-07/25/2019- 11"x14"
Archival Paper- Hahnemuhle Fine Art Baryta Satin
Price Unframed- $250
Limited Edition- 25
Signed on back
Title- #4-Screaming Baby-09/16/2019- 11"x14"
Archival Paper- Hahnemuhle Fine Art Baryta Satin
Price Unframed- $250
Limited Edition- 25
Signed on back
Title- #6-Screaming Baby-03/14/2020- 11"x14"
Archival Paper- Hahnemuhle Fine Art Baryta Satin
Price Unframed- $250
Limited Edition- 25
Signed on back
Title- #11-Screaming Baby-08/04/2020- 11"x14"
Archival Paper- Hahnemuhle Fine Art Baryta Satin
Price Unframed- $250
Limited Edition- 25
Signed on back
Title- #16-Screaming Baby-01/25/2021- 11"x14"
Archival Paper- Hahnemuhle Fine Art Baryta Satin
Price Unframed- $250
Limited Edition- 25
Signed on back
Contact- Gun Roze gunroze@gmail.com
"I photographed my Screaming Baby series over a period of almost 2 years. I first noticed the baby’s screaming bright red mouth emerging on the postered construction site wall up the street of my house. Each time I passed by and noticed a change had occurred, I took a photo or two. The changes were a result of weather exposure, a passersby’s tearing, or a street artist's contribution. Layers of paper were peeling back to reveal more of the baby’s loudly expressive face. The screaming baby was saying something different to me with each encounter and alteration.
As I began to share my images, the interpretations and comments I received covered a full range of emotions- from compassion to horror inducing. The intense primal scream seemed to trigger the screaming baby within many. People’s projections revealed quite a bit about their own childhood or how a wailing infant affected them. As the baby’s one eye was gradually revealed, this heightened the emotional impact of the images. Eventually, due to time and wear, the baby’s face is reduced down to a portion of its screaming full mouth. The scream’s impact is less audible. "
Gun Roze is a Toronto-born Fine Art Photographer. Gun’s essential photographic knowledge was gained throughout his 35 year career as a Master Analog Printer for professional photographers. His expertise brought him work opportunities in Vancouver, San Francisco and New York City. 2012 was a defining year for Gun’s photographic direction after rediscovering negatives photographed during two trips to Manhattan forty years earlier. This inspired him to return to street-based photography which remains his daily practice since relocating to Toronto in 2015. Gun has received two artist grants and has had eleven solo shows in Toronto in the past nine years.
IMAGES FOR SALE
Title- #2-Screaming Baby-06/03/2019- 11"x14"
Archival Paper- Hahnemuhle Fine Art Baryta Satin
Price Unframed- $250
Limited Edition- 25
Signed on back
Title- #2-Screaming Baby-07/25/2019- 11"x14"
Archival Paper- Hahnemuhle Fine Art Baryta Satin
Price Unframed- $250
Limited Edition- 25
Signed on back
Title- #4-Screaming Baby-09/16/2019- 11"x14"
Archival Paper- Hahnemuhle Fine Art Baryta Satin
Price Unframed- $250
Limited Edition- 25
Signed on back
Title- #6-Screaming Baby-03/14/2020- 11"x14"
Archival Paper- Hahnemuhle Fine Art Baryta Satin
Price Unframed- $250
Limited Edition- 25
Signed on back
Title- #11-Screaming Baby-08/04/2020- 11"x14"
Archival Paper- Hahnemuhle Fine Art Baryta Satin
Price Unframed- $250
Limited Edition- 25
Signed on back
Title- #16-Screaming Baby-01/25/2021- 11"x14"
Archival Paper- Hahnemuhle Fine Art Baryta Satin
Price Unframed- $250
Limited Edition- 25
Signed on back
Contact- Gun Roze gunroze@gmail.com
Isabella Camacho/Don't Look At Me
Isabella Camacho/Don't Look At Me
Isabella Camacho/Don't Look At Me
Isabella Camacho says, "I'm a photographer based in the San Fernando Valley currently attending California State University, Northridge, where I specialize in portrait photography, aiming to capture the unfiltered aspects of human experience and emotion.
In this series, I seek to capture the complex emotions surrounding the fear of vulnerability that arises from feeling used. Through faceless images, I express a desire to disappear. Each photograph invites viewers to reflect on their own experiences of anonymity and their struggles with identity and isolation."
In this series, I seek to capture the complex emotions surrounding the fear of vulnerability that arises from feeling used. Through faceless images, I express a desire to disappear. Each photograph invites viewers to reflect on their own experiences of anonymity and their struggles with identity and isolation."
Joyce Ernst/Stay 1
Joyce Ernst/The Hallway 2
Joyce Ernst/Love You're Not Alone 3
If viewing on a computer click on arrow to continue
Joyce Ernst/Two Puddles 4
Joyce Ernst/City Shoal 5
Joyce Ernst/Up is Down and down is Up 6
Joyce Ernst (resubmission- renamed photos to include number order)
Joyce Ernst is a lens-based artist whose work explores the tensions of the human experience, capturing the emotional landscapes that are universal. Her photographs are often unsettling and enigmatic, engaging a twisted frequency replete with evocative color and missing information.
Joyce grew up in suburban Philadelphia and now lives in Dallas, Texas and Sun Valley, Idaho. In addition to holding a BA and MBA from the University of Virginia, she completed an MFA in media studies at the Maine Media College in 2023. She was named Photographer of 2024 by Pasadena Photography Arts for her series The Uncertainty of Being. In addition, her work has been exhibited by Studio 162 in Rockport, Maine, the Atlanta Photography Group, the Texas Photographic Society, the Sun Valley Airport Committee and numerous online magazines and galleries.
www.joyceernst.com
www.Instagram.com/joyceernstphoto
____________________________
EXHIBITION #2
https://laphotocurator.com/a-thousand-words-erica-kelly-martin-rollence-patugan/exhibition-2/1
EXHIBITION #3
https://laphotocurator.com/a-thousand-words-erica-kelly-martin-rollence-patugan/exhibition-3/1
Joyce Ernst is a lens-based artist whose work explores the tensions of the human experience, capturing the emotional landscapes that are universal. Her photographs are often unsettling and enigmatic, engaging a twisted frequency replete with evocative color and missing information.
Joyce grew up in suburban Philadelphia and now lives in Dallas, Texas and Sun Valley, Idaho. In addition to holding a BA and MBA from the University of Virginia, she completed an MFA in media studies at the Maine Media College in 2023. She was named Photographer of 2024 by Pasadena Photography Arts for her series The Uncertainty of Being. In addition, her work has been exhibited by Studio 162 in Rockport, Maine, the Atlanta Photography Group, the Texas Photographic Society, the Sun Valley Airport Committee and numerous online magazines and galleries.
www.joyceernst.com
www.Instagram.com/joyceernstphoto
____________________________
EXHIBITION #2
https://laphotocurator.com/a-thousand-words-erica-kelly-martin-rollence-patugan/exhibition-2/1
EXHIBITION #3
https://laphotocurator.com/a-thousand-words-erica-kelly-martin-rollence-patugan/exhibition-3/1
