A THOUSAND WORDS- Erica Kelly Martin & Rollence Patugan > Honorable Mentions: Kathryn Dunlevie- "Ascension" Kimberly Schneider- "Koan in Blue" Larissa Rolley- "To the River" Kimberly Fongheiser- "Splash of Freedom" Eric Davidove- "Medical 01"
Honorable Mentions: Kathryn Dunlevie- "Ascension" Kimberly Schneider- "Koan in Blue" Larissa Rolley- "To the River" Kimberly Fongheiser- "Splash of Freedom" Eric Davidove- "Medical 01"
Kathryn Dunlevie/Ascension
HONORABLE MENTION
HONORABLE MENTION
Kathryn Dunlevie:
ENTANGLEMENT
"Recent human activity has brought about environmental change on a colossal scale. As increased levels of carbon dioxide in our air cause temperatures and sea levels to rise, the ecosystems upon which animals and plants depend suffer along with our natural and developed environments.
We can no longer avoid the fact that all aspects of the physical world are intricately linked. To illustrate this interconnectedness, I am combining my photographs of zoos, botanical gardens and natural history museums with my photographs of contemporary urban settings. The resulting images suggest our planet’s current state of disruption and the strange bedfellows this disruption creates.
As I build each composition, interweaving elements from the natural world with images from constructed spaces, displaced animals materialize in anomalous locations. Stunned to find themselves in alien surroundings – disoriented, mistrustful, even forlorn – they mutely proclaim their vulnerability, and remind us of our own."
Kathryn Dunlevie has always been intrigued by spatial and temporal inconsistencies, and by every individual’s particular and shifting sense of what is real. Fragmenting, reassembling and layering images, she suggests the fluidity of space and time and the complex psychologies of the entities she portrays.
Born in Atlanta, Dunlevie lived in six different states by the time she was 12, and in Paraguay when she was 16. She has a B.A. in fine arts from Rice University and studied art history and film at the University of Paris, painting at California College of the Arts, and photography in Madrid.
She has received numerous awards and fellowships, including two Arts Council Silicon Valley Artist Laureate Fellowships. Her work has been exhibited in the People's Republic of China twice at the Pingyao International Photography Festival, in Moscow with the US Art in Embassies Program, at Toronto’s Gallery TPW, and in the United States at FotoFest International, San Francisco Camerawork, PhotoAlliance, the Southeast Museum of Photography, Washington DC’s Art Museum of the Americas, and the Institute of Contemporary Art San Jose.
Her work has been reviewed in Spain’s La Fotografia Actual, Korea’s photo +, and in Germany’s Profifoto, as well as in Camerawork: A Journal of Photographic Arts, Visual Art Source, and AestheticsToday.blogs.
www.kathryndunlevie.com
www.instagram.com/kathryndunlevie
ENTANGLEMENT
"Recent human activity has brought about environmental change on a colossal scale. As increased levels of carbon dioxide in our air cause temperatures and sea levels to rise, the ecosystems upon which animals and plants depend suffer along with our natural and developed environments.
We can no longer avoid the fact that all aspects of the physical world are intricately linked. To illustrate this interconnectedness, I am combining my photographs of zoos, botanical gardens and natural history museums with my photographs of contemporary urban settings. The resulting images suggest our planet’s current state of disruption and the strange bedfellows this disruption creates.
As I build each composition, interweaving elements from the natural world with images from constructed spaces, displaced animals materialize in anomalous locations. Stunned to find themselves in alien surroundings – disoriented, mistrustful, even forlorn – they mutely proclaim their vulnerability, and remind us of our own."
Kathryn Dunlevie has always been intrigued by spatial and temporal inconsistencies, and by every individual’s particular and shifting sense of what is real. Fragmenting, reassembling and layering images, she suggests the fluidity of space and time and the complex psychologies of the entities she portrays.
Born in Atlanta, Dunlevie lived in six different states by the time she was 12, and in Paraguay when she was 16. She has a B.A. in fine arts from Rice University and studied art history and film at the University of Paris, painting at California College of the Arts, and photography in Madrid.
She has received numerous awards and fellowships, including two Arts Council Silicon Valley Artist Laureate Fellowships. Her work has been exhibited in the People's Republic of China twice at the Pingyao International Photography Festival, in Moscow with the US Art in Embassies Program, at Toronto’s Gallery TPW, and in the United States at FotoFest International, San Francisco Camerawork, PhotoAlliance, the Southeast Museum of Photography, Washington DC’s Art Museum of the Americas, and the Institute of Contemporary Art San Jose.
Her work has been reviewed in Spain’s La Fotografia Actual, Korea’s photo +, and in Germany’s Profifoto, as well as in Camerawork: A Journal of Photographic Arts, Visual Art Source, and AestheticsToday.blogs.
www.kathryndunlevie.com
www.instagram.com/kathryndunlevie
Kimberly Schneider/Koan in Blue, San Diego, CA
HONORABLE MENTION
HONORABLE MENTION
Kimberly Schneider:
Preface
"All of my photographs are essentially subconscious self-portraits (or natural equivalents). I've never been able to keep myself out of my work and stopped trying a lifetime ago. While I make photographs of and with the land and the sea, it isn't until my printing process(es) that I come to learn what the work is really about, on a deeper level; the more I print, the more I see the part of me that was unconsciously exposed, and that revelation is largely what my work is about. However, when it comes to my photograms, that becomes more apparent during my titling process (orientation is never final until the titles come to me).
Pre-2020, I was primarily a maker of true infrared (and traditional black-and-white) spiritual landscapes, captured on film and printed by hand. Further, when it comes to making photographs, I have been drawn (primarily) to the western United States since my earliest days of photography (and live on the east coast) ...
At the time of the shutdown, I had an unfinished darkroom taking over 2/3 of my living room; fortunately the wet side was functional. Which is what led me to make my first cameraless photographs. Eight or nine bodies of work later, my photograms morphed into unique landscape photographs, when I found myself inspired to bring the land (and the western United States) into the darkroom with me.
[I think of my photograms primarily in terms of printmaking and sculpture (and painting a bit as of late), as I not only work my materials a bit between (and sometimes during) exposures, but also build them up, layer by layer.]
STATEMENT
I am submitting 6 images from two parallel bodies of work
Winds of Change (the black-and-white mixed-process photograms) commenced as a series of 5 demo prints I made while working with a Zoom photograms student (who needed a little help getting out of her head). Made with ice, sand, flowers, produce, glitter, and more, in November 2022, it wasn't until January 2023 when the titles came to me and the series was born. From there, it pretty much took on a life of its own - beginning with ice-rubbings that quickly (unintentionally) began to resemble the visual textures of Point Lobos, and areas in Colorado that I had previously captured on film; by the summer, they had morphed into unique landscape photographs...
In July 2023, I was invited to teach a brief photograms course at the Photographer’s Eye Collective in Escondido, CA. While there, I was inspired to go to Windansea Beach, where I collected sand, some Pacific Ocean water, seaweed, palm leaves, and more, and shipped it to myself in NYC, specifically for location-specific photograms. [This soon inspired my vision for the contents of EQUIVALENCE, my upcoming fine press book with Veritas Editions, which presently is in need of a lot of funding but will eventually include both cameraless and lens-based landscape photographs, made in (or collected from) various locations of the western United States – as part of the book]. I have been making all of my cameraless photographs with these materials since November 2023.
Impermanence began as a way to prepare for the (then upcoming) loss of my second home darkroom, in NYC (my landlord decided to gut the place when my lease ended in May 2020) and is essentially the colorful translation of Winds of Change. I began experimenting with location-specific (mixed process) lumen prints in April 2024; thankfully inspiration took over immediately and has continued to take me to some pretty interesting places.
While this began with a led panel a former coworker was kind enough to gift me, I do have a proper light box to work with these days. As of late I have been experimenting with different methods of painting with cyanotype chemistry and making location-specific cyano-lumen-chemigrams, with the San Diego/La Jolla materials."
Kimberly Schneider is a visual artist, educator, and printer, who has been dedicated to the art of the handmade print for over two decades. Specializing in true infrared film, spiritual landscapes, and experimental photograms, she holds a BFA in photography (and minor in philosophy) from Colorado State University, exhibits her work regularly, and has received quite a few awards over the past several years.
Based in New York City, Kimberly teaches many of her processes (both privately as well as publicly and remotely via Zoom) with an emphasis on learning to use art as a means of therapy. Her work has also been in notable exhibitions at Scott Nichols Gallery, AIPAD (Association of International Photography Art Dealers), Photo Forward Los Angeles, The Camera Obscura Gallery, The Photographer’s Eye Collective, San Diego Art Institute, ZIA Gallery, and Foto Nostrum (Barcelona, Spain), as well as virtually at The Louvre; She is honored to have work in the collection of Susan Herzig & Paul Hertzmann, San Francisco and to have Veritas Editions as the future publisher of EQUIVALENCE, her upcoming monograph.
Kimberly recently debuted “Phoenix” in the 2024 (S)Light of Hand exhibition at The Photographer’s Eye Collective, in Escondido, CA, was honored to be asked to do a special contribution for the fifth edition of The Darkroom Cookbook, which is now available by pre-order (she also contributed to the previous edition but has a more elaborate contribution in the 30th anniversary edition), and looks forward to teaching her first hybrid cyanotypes class with a collaborator who has a rental darkroom in Austin, Texas (the class will be announced in the next couple of days), this November.
Recent Awards include Honorary Spider Fellow (Nominee), 18th Black and White Spider Awards; Honorable Mention, LA Photo Curator, Surrealism competition; Honorable Mention, 18th Julia Margaret Cameron Awards; Runner Up (to the Series Winner), 17th Julia Margaret Cameron Awards; 3rd Place, 16th Julia Margaret Cameron Awards; Honorable Mention (16th) Pollux Awards; Honorary Spider Fellow (Nominee); 16th Black and White Spider Awards.
IMAGES FOR SALE
"Still Standing (aka Self-Portrait in Cornflower Blue), San Diego, CA" - Impermanence series - 14"H x 11"W
Printed on expired Agfa (orange box) in September 2024
$1350 unframed
Unique silver gelatin print (painted cyanotype & lumen-chemigram/photogram) made with beach sand, palm leaves, and more.
Signed on back
“Phoenix (aka Goodbye Gold Street Darkroom #5), San Diego, CA” -Impermanence (series) - 11"H x 14"W
Printed on expired Agfa (orange box) in May 2024
FRAMED $1750
Unique silver gelatin print (cyano-lumen-chemigram/photogram) made with sand, the Pacific, palm leaves and more.
Signed on back
"Koan in blue, San Diego, CA" Impermanence series - 11"H x 14"W
Printed on expired Agfa (orange box) in September 2024
$1350 unframed
Unique silver gelatin print (painted cyanotype & lumen-chemigram/photogram) made with beach sand, palm leaves, and more.
Signed on back
“Santa Ana Winds (aka Goodbye Gold Street Darkroom), San Diego, CA” - Winds of Change (series) - 14"H x 11"W.
Printed on Fomatone MG 131 in May 2024
$1350 unframed
Unique silver gelatin print (photogram/chemigram) made with beach sand, ocean water, and more.
Signed on back
“Blizzard at High Tide (aka Goodbye Gold Street Darkroom #3), San Diego, CA & NYC” - Winds of Change (series) - 14"H x 11"W
Printed on Fomatone MG 131 in May 2024
$1350 unframed
Unique silver gelatin print (photogram/chemigram/ice-rubbing) made with beach sand, palm leaves, NYC snow and ice, and more.
Signed on back
“Bicoastal (aka Goodbye Gold Street Darkroom #2), San Diego, CA & NYC” - Winds of Change (series) - 14"H x 11"W
Printed on Fomatone MG 131 in May 2024
$1350 unframed
Unique silver gelatin print (photogram/chemigram) made with beach sand, palm leaves, NYC snow and ice, and more.
Signed on back
CONTACT INFO
E: kimberly@kimberlyjschneider.com
www.instagram.com/kimberlyjschneiderphotography
www.kimberlyjschneider.com
Preface
"All of my photographs are essentially subconscious self-portraits (or natural equivalents). I've never been able to keep myself out of my work and stopped trying a lifetime ago. While I make photographs of and with the land and the sea, it isn't until my printing process(es) that I come to learn what the work is really about, on a deeper level; the more I print, the more I see the part of me that was unconsciously exposed, and that revelation is largely what my work is about. However, when it comes to my photograms, that becomes more apparent during my titling process (orientation is never final until the titles come to me).
Pre-2020, I was primarily a maker of true infrared (and traditional black-and-white) spiritual landscapes, captured on film and printed by hand. Further, when it comes to making photographs, I have been drawn (primarily) to the western United States since my earliest days of photography (and live on the east coast) ...
At the time of the shutdown, I had an unfinished darkroom taking over 2/3 of my living room; fortunately the wet side was functional. Which is what led me to make my first cameraless photographs. Eight or nine bodies of work later, my photograms morphed into unique landscape photographs, when I found myself inspired to bring the land (and the western United States) into the darkroom with me.
[I think of my photograms primarily in terms of printmaking and sculpture (and painting a bit as of late), as I not only work my materials a bit between (and sometimes during) exposures, but also build them up, layer by layer.]
STATEMENT
I am submitting 6 images from two parallel bodies of work
Winds of Change (the black-and-white mixed-process photograms) commenced as a series of 5 demo prints I made while working with a Zoom photograms student (who needed a little help getting out of her head). Made with ice, sand, flowers, produce, glitter, and more, in November 2022, it wasn't until January 2023 when the titles came to me and the series was born. From there, it pretty much took on a life of its own - beginning with ice-rubbings that quickly (unintentionally) began to resemble the visual textures of Point Lobos, and areas in Colorado that I had previously captured on film; by the summer, they had morphed into unique landscape photographs...
In July 2023, I was invited to teach a brief photograms course at the Photographer’s Eye Collective in Escondido, CA. While there, I was inspired to go to Windansea Beach, where I collected sand, some Pacific Ocean water, seaweed, palm leaves, and more, and shipped it to myself in NYC, specifically for location-specific photograms. [This soon inspired my vision for the contents of EQUIVALENCE, my upcoming fine press book with Veritas Editions, which presently is in need of a lot of funding but will eventually include both cameraless and lens-based landscape photographs, made in (or collected from) various locations of the western United States – as part of the book]. I have been making all of my cameraless photographs with these materials since November 2023.
Impermanence began as a way to prepare for the (then upcoming) loss of my second home darkroom, in NYC (my landlord decided to gut the place when my lease ended in May 2020) and is essentially the colorful translation of Winds of Change. I began experimenting with location-specific (mixed process) lumen prints in April 2024; thankfully inspiration took over immediately and has continued to take me to some pretty interesting places.
While this began with a led panel a former coworker was kind enough to gift me, I do have a proper light box to work with these days. As of late I have been experimenting with different methods of painting with cyanotype chemistry and making location-specific cyano-lumen-chemigrams, with the San Diego/La Jolla materials."
Kimberly Schneider is a visual artist, educator, and printer, who has been dedicated to the art of the handmade print for over two decades. Specializing in true infrared film, spiritual landscapes, and experimental photograms, she holds a BFA in photography (and minor in philosophy) from Colorado State University, exhibits her work regularly, and has received quite a few awards over the past several years.
Based in New York City, Kimberly teaches many of her processes (both privately as well as publicly and remotely via Zoom) with an emphasis on learning to use art as a means of therapy. Her work has also been in notable exhibitions at Scott Nichols Gallery, AIPAD (Association of International Photography Art Dealers), Photo Forward Los Angeles, The Camera Obscura Gallery, The Photographer’s Eye Collective, San Diego Art Institute, ZIA Gallery, and Foto Nostrum (Barcelona, Spain), as well as virtually at The Louvre; She is honored to have work in the collection of Susan Herzig & Paul Hertzmann, San Francisco and to have Veritas Editions as the future publisher of EQUIVALENCE, her upcoming monograph.
Kimberly recently debuted “Phoenix” in the 2024 (S)Light of Hand exhibition at The Photographer’s Eye Collective, in Escondido, CA, was honored to be asked to do a special contribution for the fifth edition of The Darkroom Cookbook, which is now available by pre-order (she also contributed to the previous edition but has a more elaborate contribution in the 30th anniversary edition), and looks forward to teaching her first hybrid cyanotypes class with a collaborator who has a rental darkroom in Austin, Texas (the class will be announced in the next couple of days), this November.
Recent Awards include Honorary Spider Fellow (Nominee), 18th Black and White Spider Awards; Honorable Mention, LA Photo Curator, Surrealism competition; Honorable Mention, 18th Julia Margaret Cameron Awards; Runner Up (to the Series Winner), 17th Julia Margaret Cameron Awards; 3rd Place, 16th Julia Margaret Cameron Awards; Honorable Mention (16th) Pollux Awards; Honorary Spider Fellow (Nominee); 16th Black and White Spider Awards.
IMAGES FOR SALE
"Still Standing (aka Self-Portrait in Cornflower Blue), San Diego, CA" - Impermanence series - 14"H x 11"W
Printed on expired Agfa (orange box) in September 2024
$1350 unframed
Unique silver gelatin print (painted cyanotype & lumen-chemigram/photogram) made with beach sand, palm leaves, and more.
Signed on back
“Phoenix (aka Goodbye Gold Street Darkroom #5), San Diego, CA” -Impermanence (series) - 11"H x 14"W
Printed on expired Agfa (orange box) in May 2024
FRAMED $1750
Unique silver gelatin print (cyano-lumen-chemigram/photogram) made with sand, the Pacific, palm leaves and more.
Signed on back
"Koan in blue, San Diego, CA" Impermanence series - 11"H x 14"W
Printed on expired Agfa (orange box) in September 2024
$1350 unframed
Unique silver gelatin print (painted cyanotype & lumen-chemigram/photogram) made with beach sand, palm leaves, and more.
Signed on back
“Santa Ana Winds (aka Goodbye Gold Street Darkroom), San Diego, CA” - Winds of Change (series) - 14"H x 11"W.
Printed on Fomatone MG 131 in May 2024
$1350 unframed
Unique silver gelatin print (photogram/chemigram) made with beach sand, ocean water, and more.
Signed on back
“Blizzard at High Tide (aka Goodbye Gold Street Darkroom #3), San Diego, CA & NYC” - Winds of Change (series) - 14"H x 11"W
Printed on Fomatone MG 131 in May 2024
$1350 unframed
Unique silver gelatin print (photogram/chemigram/ice-rubbing) made with beach sand, palm leaves, NYC snow and ice, and more.
Signed on back
“Bicoastal (aka Goodbye Gold Street Darkroom #2), San Diego, CA & NYC” - Winds of Change (series) - 14"H x 11"W
Printed on Fomatone MG 131 in May 2024
$1350 unframed
Unique silver gelatin print (photogram/chemigram) made with beach sand, palm leaves, NYC snow and ice, and more.
Signed on back
CONTACT INFO
E: kimberly@kimberlyjschneider.com
www.instagram.com/kimberlyjschneiderphotography
www.kimberlyjschneider.com
Larissa Rolley/To the River
HONORABLE MENTION
HONORABLE MENTION
Larissa Rolley:
‘You are the Ripple’ series
Larissa Rolley captures the essence of Polynesian landscapes with a contemplative and minimalist approach, where each natural element becomes a symbol of inner journey. Her black-and-white photographs amplify this depth, transforming rivers, mountains, and beaches into visual metaphors for life's paths. The apparent simplicity of her compositions hides a complex reflection on the relationship between humanity and nature, where every landscape becomes an invitation for introspection.
Her choice of black and white, far from being incidental, enhances the timelessness of these journeys, inviting the viewer to project their own reflections. With their spiritual calm, these works offer an almost meditative experience, where the movement of the sea, rivers, or clouds seems suspended in time. Larissa skillfully captures the subtle interaction between the ephemeral and the eternal, reminding us that every path, whether physical or introspective, ultimately leads us back to ourselves.
Larissa Rolley is a photographer whose work captures the connection between nature, culture, and human experience. Blending minimalism, depth, and humanity, her images invite viewers to explore not only the beauty of the world around us but also the landscapes within, with emotional resonance.
Known for her contemplative photography, Larissa transforms natural elements—such as rivers, mountains, and oceans—into metaphors for life’s journeys. Her work often explores themes of time, movement, beauty, and stillness, where the simplicity of her compositions opens up layers of introspection and meaning.
As a drone photographer, Larissa adds a unique perspective, capturing the world from above with a focus on the patterns, rhythms, and harmonies that exist between land and sea. Her work often feels suspended in time, offering viewers a moment of meditation on the interconnection between the ephemeral and the eternal.
In addition to her photography, Larissa is also a videographer, travel professional, and an advocate for sustainable tourism, reflecting her passion for the environments she captures through her lens.
Larissa holds an MFA from Columbia College Chicago where she cultivated her passion for photography and visual arts. Her work has been featured in exhibitions in Chicago, Paris and Tahiti, and she has contributed to travel media and magazines offering viewers a quiet space for reflection.
Whether working with landscapes or the human form, Larissa’s photography resonates with a sense of stillness, inviting viewers to pause and consider their place within the greater flow of life.
www.LarissaRolley.com
www.instagram.com/larissarolley
------------------------------------------------
TO VIEW ADDITIONAL HONORABLE MENTIONS:
CLICK ON ARROW AT TOP OF PAGE
(IF VIEWING ON COMPUTER)
IF VIEWING ON PHONE SCROLL DOWN.
‘You are the Ripple’ series
Larissa Rolley captures the essence of Polynesian landscapes with a contemplative and minimalist approach, where each natural element becomes a symbol of inner journey. Her black-and-white photographs amplify this depth, transforming rivers, mountains, and beaches into visual metaphors for life's paths. The apparent simplicity of her compositions hides a complex reflection on the relationship between humanity and nature, where every landscape becomes an invitation for introspection.
Her choice of black and white, far from being incidental, enhances the timelessness of these journeys, inviting the viewer to project their own reflections. With their spiritual calm, these works offer an almost meditative experience, where the movement of the sea, rivers, or clouds seems suspended in time. Larissa skillfully captures the subtle interaction between the ephemeral and the eternal, reminding us that every path, whether physical or introspective, ultimately leads us back to ourselves.
Larissa Rolley is a photographer whose work captures the connection between nature, culture, and human experience. Blending minimalism, depth, and humanity, her images invite viewers to explore not only the beauty of the world around us but also the landscapes within, with emotional resonance.
Known for her contemplative photography, Larissa transforms natural elements—such as rivers, mountains, and oceans—into metaphors for life’s journeys. Her work often explores themes of time, movement, beauty, and stillness, where the simplicity of her compositions opens up layers of introspection and meaning.
As a drone photographer, Larissa adds a unique perspective, capturing the world from above with a focus on the patterns, rhythms, and harmonies that exist between land and sea. Her work often feels suspended in time, offering viewers a moment of meditation on the interconnection between the ephemeral and the eternal.
In addition to her photography, Larissa is also a videographer, travel professional, and an advocate for sustainable tourism, reflecting her passion for the environments she captures through her lens.
Larissa holds an MFA from Columbia College Chicago where she cultivated her passion for photography and visual arts. Her work has been featured in exhibitions in Chicago, Paris and Tahiti, and she has contributed to travel media and magazines offering viewers a quiet space for reflection.
Whether working with landscapes or the human form, Larissa’s photography resonates with a sense of stillness, inviting viewers to pause and consider their place within the greater flow of life.
www.LarissaRolley.com
www.instagram.com/larissarolley
------------------------------------------------
TO VIEW ADDITIONAL HONORABLE MENTIONS:
CLICK ON ARROW AT TOP OF PAGE
(IF VIEWING ON COMPUTER)
IF VIEWING ON PHONE SCROLL DOWN.
Kimberly Fongheiser/Splash of Freedom
HONORABLE MENTION
HONORABLE MENTION
Kimberly Adamis Fongheiser:
Kimberly is an LA-based Photographer/Artist whose work spans over multiple medias. She’s traveled around the US & Canada as official photographer for the band HEART and has captured the likes of many musical artists including Brandi Carlile, Sheryl Crow, Elle King, Paul Rodgers, Deb Bonham among others. If she’s not shooting creative portraiture or artwork, she’s exploring new mediums. Her artwork is currently on exhibit in Rome, Italy and Venice, CA.
Images are for sale:
The Smile - 24" H x 16" W
Archival Paper
$250 unframed
Signed on back
Splash of Freedom- 16" H x 24" W
Archival Paper
$250 unframed
Signed on back
Vroom- 16" H x 24" W
Archival Paper
$250 unframed
Signed on back
Contact:
Kimberly Adamis Fongheiser
kim@sonicblissmusic.com
www.kimberlyadamis.com
www.instagram.com/kimberlyartphotography
____________________________
BEST SERIES:
https://laphotocurator.com/a-thousand-words-erica-kelly-martin-rollence-patugan/best-series-beth-galton/1
EXHIBITION #1
https://laphotocurator.com/a-thousand-words-erica-kelly-martin-rollence-patugan/exhibition-1/1
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
Kimberly is an LA-based Photographer/Artist whose work spans over multiple medias. She’s traveled around the US & Canada as official photographer for the band HEART and has captured the likes of many musical artists including Brandi Carlile, Sheryl Crow, Elle King, Paul Rodgers, Deb Bonham among others. If she’s not shooting creative portraiture or artwork, she’s exploring new mediums. Her artwork is currently on exhibit in Rome, Italy and Venice, CA.
Images are for sale:
The Smile - 24" H x 16" W
Archival Paper
$250 unframed
Signed on back
Splash of Freedom- 16" H x 24" W
Archival Paper
$250 unframed
Signed on back
Vroom- 16" H x 24" W
Archival Paper
$250 unframed
Signed on back
Contact:
Kimberly Adamis Fongheiser
kim@sonicblissmusic.com
www.kimberlyadamis.com
www.instagram.com/kimberlyartphotography
____________________________
BEST SERIES:
https://laphotocurator.com/a-thousand-words-erica-kelly-martin-rollence-patugan/best-series-beth-galton/1
EXHIBITION #1
https://laphotocurator.com/a-thousand-words-erica-kelly-martin-rollence-patugan/exhibition-1/1
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
Eric Davidove/Medical 01
HONORABLE MENTION
HONORABLE MENTION
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."
www.edovephotos.myportfolio.com
www.instagram.com/edovephotos
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.
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."
www.edovephotos.myportfolio.com
www.instagram.com/edovephotos
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.
