Laura Blacklow says,"In conventional photography, we think of the camera as capturing time in parts of a second. 

However, minutes and hours might be needed for just one exposure of my photograms of plants on hand-coated emulsion in the sun. Since I combine cyanotype and Van Dyke brown in layers, each print  can take days to complete.  The work in the Backyard Botanicals Portfolio, started years ago, results in a spontaneous arrangement that archives seasons reflecting passed/past time."

Laura Blacklow is the author of New Dimensions in Photo Processes: A Step by Step Manual for Alternative Techniques (Routledge/Taylor &Francis Group), 5th edition, 2018). 

She is the recipient of a National Endowment for the Arts Regional Fellowship for works on paper, the St. Botolph Club’s Morton C. Bradley Award, Polaroid Corporation’s Artist Support Program, a Research Grant from the David Rockefeller Center for Latin American Studies at Harvard University, and the Massachusetts Artists’ Foundation Fellowship for her hand-colored black and white photographs. 

Blacklow is on the faculty of the School of the Museum of Fine Arts@Tufts University.

Her work has most recently appeared in Light and Lens: Photography in the Digital Age, 3d Edition, Robert Hirsch, Focal Press, 2018; Cyanotypes: Photography’s Blue Period, Worcester Art Museum Publication, 2016; Exploring Color Photography, 6th Edition, Robert Hirsch, Focal Press, New York, 2015; Photography Beyond Technique, Edited by Tom Persinger, Focal Press/Taylor & Francis Group, NYC and London, 2014; and 500 Handmade Books, Edited by Julie Chen, Lark Crafts, New York, 2013.
Laura Blacklow teaches at the School of the Museum of Fine Arts @ Tufts University.

C.V.:

SELECTED AWARDS

Finalist, United States National Parks Arts Foundation, 2017
School of the Museum of Fine Arts Faculty Grants: 2017, 2008, 2005, 2004, 2001, 1996, 1992
Polaroid Corporation: Artist Support Program, 1983-2006
The St. Botolph Club Foundation: Morton C. Bradley Grant for Color, 1999
Harvard University, David Rockefeller Center for Latin American Studies:  Research Grant, 1999
National Endowment for the Arts and New England Foundation for the Arts: Regional Fellowship for Works on Paper, 1990
Women's Studio Workshop, Rosendale, NY: Artists' Book Production Grant, 1986
Massachusetts Artists Foundation: Recipient, Fellowship in Photography, 1978
Boston Museum of Science: Artist-in-Residence, 1979
Massachusetts Institute of Technology:  Research Affiliate, Visible Language Workshop, 1977-1979

SELECTED COLLECTIONS  
                                  
INSTITUTIONS

Addison Gallery of American Art, Andover, MA
Doubleday Publishing Co, Garden City, N.J
Duke University: Sallie Bingham Collection, Pierce Library
Harvard University: Fogg Museum, Cambridge, MA
George Eastman House International Museum of Photography, Rochester, NY
Itek Corporation, Rochester, NY
Massachusetts Institute of Technology: School of Architecture and Planning Archives
Meditech Corp.
Museum of Contemporary Art, Chicago, IL (Gift of David & Reva Logan Foundation)
Polaroid International Collection, Offenbach, Germany
Simmons College, Boston, MA
Wadsworth Athenaeum: Sol Lewitt Collection, Middletown, CT

INDIVIDUALS

Michael Blasgen                          Bela Kalman      
Robert Brock                                Lucy Lippard
Robert Pyle                                  Andrew Wolf 
                                                                                                                                
SELECTED EXHIBITIONS

ONE PERSON
1998 Driskel Gallery, Provincetown, MA: “Laura Blacklow: Prints and Artists’ Books”
1990 Opsis Gallery, New York, NY: "Excerpts/Photographic Monoprints"
1982 University of Rhode Island, Kingston, RI
Hampshire College, Amherst, MA

GROUP

2016 Worcester Art Museum, Worcester, MA: “Cyanotype: Photography’s Blue Period”
2013-2014 Center for Book Arts, San Francisco; Columbia University, NYC; American University, Cairo, Egypt and other sites: 
 “Al-Mutanabbi Street Starts Here”
2012 A. Smith Gallery, San Antonio, TX: “Gardens” (Director’s Award)
2009-10  University of New England, Portland, ME; Simmons College, Boston, MA; University of Mass-Dartmouth; 
Maine Media Workshops, Camden; "Going Forward, Looking Back –Practicing Historic Photographic Processes in the 21st Century"
2008-9 LaSalle College, Newton, MA; Pyramid Atlantic Gallery, Silver Spring, MD; Rhode Island School of Design, Providence, RI;
Wells College, Aurora, ME; Montserrat College of Art, Beverly, MA; Holy Cross College, Worcester, MA: “Shelter”
2008 Art Complex Museum, Duxbury, MA: "Artists & Books"
Soho Photo Gallery, New York, NY: “Alternative Processes”
2007 Gallery Artists Studio Projects, Boston, MA: “Convergence: Photo/Graphics”
2003 Art Complex Museum, Duxbury, MA: "Photoplay”
1999 Corcoran Gallery of Art and Pyramid Atlantic, Washington, DC, "Invitational Exhibit: Books”
 Boston University Art Gallery, Boston, MA: "North American Print Biennial"
1998 Instituto de Artes Graficas, Oaxaca, Mexico; Biblioteca Nacional, Mexico City: "The Art of the Artists’ Book"
1997  Bernard Toale Gallery, Boston, MA: "Something Like a Dialogue"
1993 Koppelman Gallery, Tufts University, Medford, MA: "Breaking the Mold"
1992 National Museum for Women in the Arts, Washington, DC, "Book as Art”
Massachusetts College of Art, Boston, MA: "The Country Between Us/ Contemporary American Landscapes"
1991 Fogg Museum, Harvard University, Cambridge, MA: "Mixing the Medium/ Beyond Silver Photographs"
1990 The Print Club, Philadelphia, PA: "Contemporary Books"
1989 Addison Gallery of American Art, Andover, MA: "Books"
Clarence Kennedy Gallery, Polaroid Corp., Cambridge, MA: "New Dimensions in Photography"
1987 Tufts University Art Gallery, Medford, MA: "Three Women/Three Visions"
Institute of Contemporary Art, Boston, MA: "Boston Now”
 Los Angeles Center for Photographic Studies, CA: "Painterly Concerns"
1986 Hera Foundation Gallery, Wakefield, RI: "The Constructed Photograph"
Gallerie Carolyn Corre, Paris, France
Galleri T.V., Malmo, Sweden: "New Artists' Books"
1985 Addison Gallery of American Art, Andover, MA: "Central America: Boston Reacts"
1984 Vision Gallery, Boston, MA: "Words and Pictures"
1983 University of Wisconsin, Madison, WI: "Breaking the Bindings: American Book Art Now"
1982 William Patterson College, NJ: "Artists' Books: A Survey 1960-81"
American Institute of Graphic Arts, New York, NY: "Graphic Communication"
1981 Walker Art Center, Minneapolis, MN: "One-of-a-Kind Artists' Books”
Philadelphia Art Alliance; Pittsburgh Center for the Arts; Southern Alleghenies Museum of Art, Philadelphia, PA: "Words and  Images: A Contemporary Survey of Artists' Books"
1980 New England Foundation for the Arts, Visual Art Touring Program and Hera Educational Foundation, RI: "Re: Pages"
1979 Worcester Art Museum; University Gallery, University of Massachusetts, Amherst; Carpenter Center for the Visual Arts, Harvard
  University: "Art of the State: Photography 1978-79"
 Royal Museum, Australia; National Museum, Covett-Brewster Gallery, Auckland City Art Gallery, New Zealand, "Artists' Books"
 (curated by Franklin Furnace Book Archive and Performance Center, New York, NY)
1978 Massachusetts Institute of Technology, Creative Photography Gallery, "Vaguely Photographic"

EXHIBITION CATALOGUES

Cyanotype: Photography’s Blue Period, 2016; Shelter, 2008; Breaking the Mold, 1993; Book as Art, 1992; The Country Between Us: Contemporary American Landscapes, 1992; Graphic Design USA: 1982; Words and Images:
A Contemporary Artists Book Exhibition, 1981; Re: Pages. An Exhibition of Contemporary American Bookworks, 1981;
Bound to Be, 1981; Artists' Books, New Zealand Tour, 1978-9

PUBLICATIONS

Author, New Dimensions in Photo Processes: A Step-by-Step Manual for Alternative Techniques.  Focal Press, an imprint of Taylor & Fances/Routledge, NYC & London, revised fifth  edition, 2018
"Family Histories: Past and Present Images in the Lives of Recent Hispanic Immigrants," Essex Institute, Salem, MA, 1990 (photography editor and designer)
"Misshaping Media: The Uses and Abuses of Photojournalism," Art New England, Feb. 1985 (author)
"Nicaraguan Journal," Views: The Journal of Photography in New England, Winter 1984 (author)
"We Need a Change! Portraits of Five Activist Women," University of Massachusetts, Harbor Campus, 1984 (designer and printer)
"Voices of a Generation: Growing Up in Lynn during the Decline of the Shoe Industry," North Shore Community College and CETA, Salem, MA, 1980 (photography editor and printer)
Works Featured In
Light and Lens: Photography in the Digital Age, Third Edition, Robert Hirsch, Focal Press, New York and London, 2007-2018
Exploring Color Photography: From Film to Pixels, Fifth Edition, Robert Hirsch, McGraw Hill, New York,  2004- 2018
Photography Beyond Technique, Edited by Tom Persinger, Focal Press/Taylor & Francis Group, NYC and London, 2014
500 Handmade Books, Edited by Julie Chen, Lark Books, NYC, 2013
Gum Printing and Other Amazing Contact Printing Processes, Christina Z. Anderson, Anderson Books, Bozeman, MT., 2013
Making Journals by Hand, Jason Thompson, Rockport Books, Rockport MA, 2002
Making Memory Books by Hand, Kristina Feliciano, Rockport Books, Rockport, MA, 1999
Making Books by Hand, Mary McCarthy, Rockport Books, Rockport, MA, 1996.
The Art of Hand Coloring Photographs, Cheryl Winser, North Light Books, Cincinnati, OH, 1995.
Secrets to Buying Art Vol II: Photography, Maryanne Winniger, F&W Publications, 1992
The Contemporary Quilt, Edited by Pattie Chase, E. P. Dutton, NY, 1978
Innovative Printmaking, Edited by Thelma R. Newman, Crown Publishing, NY, 1977
Work Represented By
Dorothy Solomon & Associates, Inc., 45 New Light Lane, Water Mill, NY 11976
ArtFocus, 3 Hopkins Avenue, Beverly , MA 01915

OTHER PROFESSIONAL ACHIEVEMENTS

CO-CURATOR: "Reflecting on Culture", Trustman Gallery, Simmons College, Boston, May-June, 1997;
"Mayan Views", Cambridge Multicultural Arts Center, MA, Oct., 1996-Jan. 1997; "Between the Covers: Handmade Artists' Books", Massachusetts College of Art, April, 1985
PRESENTER: Society for Photographic Education Conference, Woodstock, N.Y., 2007
MEMBER: Board of Directors, Photographic Resource Center, Boston, MA, 1987-1992
Board of Directors, The Arts Collaborative, Boston, MA, 1987-1988
President, Artists Call Against U.S. Intervention in Central America, Boston, MA, 1984-1987


www.laurablacklow.com

Author, New Dimensions in Photo Processes: A Step by Step Manual for Alternative Techniques, 5th edition
www.routledge.com/New-Dimensions-in-Photo-Processes-A-Step-by-Step-Manual-for-Alternative/Blacklow/p/book/9781138632837
 
  

Laura Aubrée defines her practice as an exploration. Travelling through her imagination, she invites the serendipitous and refuses to record things but to create.

Focusing on the materiality of photography, Laura investigates how the photograph still exists tridimensionally in time and space. Through continuous experimentations she creates what she calls photographic objects. 

Interested in Natural History and concerned about the environment, the relationship between Humanity and Nature remains at the core of her practice. In her recent piece Regnum Naturæ, Laura deeply considers Nature as a being who lives and fights. In a world overtaken by Humans, she investigates what would happen if Nature undertook to fight back. Inspired by greek mythology, she disengages herself with our time to create a singular temporal space where the audience is intimately invited to reconsider mankind’s dominance over Nature.

Regnum Naturæ resonates as the outcome of a devine retribution where the notion of power is being rethought. Through the technics of wet plate collodion  and chlorophyll printing Laura looks to what is enduring and ephemeral, at lightness and darkness, the real and the unreal to denounce Human’s impact on the Earth, inviting the viewer to dive into her imaginary and overwhelming universe.

Laura was born in France in 1993, she grew up between her homeland and Belgium before she was given the chance to study and travel through Eastern Europe. From there, she broke up with digital forever.

She started shooting with analogue cameras she could find in flea markets and recorded every people and instant of her nomadic life. On the road, Laura met photographers who helped her extend her interests from analogue photography to « alternative » techniques such as wet plate collodion, chlorophyll printing and anthotype. Through those technics, she found the way to connect with the photograph as a precious and unique object.

Education:

MA Photography (Merit), London College of Communication, University of the Arts London, London

BA (Distinction), Fine Art Photography, École Supérieure des Arts Saint-Luc, Liège, Belgium

Exhibitions:

2016 Interim Show, London College of Communication, London, UK

2015 Interim Exhibition, London College of Communication, London, UK

2014 bip off (Biennale Internationale de la Photographie) Tout porte à croire, Galerie  Saint-Luc, Liège, Belgium

Place aux œuvres d’étudiants en arts ! Le CEDIES et le Casino Luxembourg – Forum d’art contemporain, Luxembourg

2013 The Abandonned Communist Cinema, Cetatuie’s Arsenal, Cluj-Napoca, Romania

voies OFF (Festival de la photographie) projection au Café la nuit, Arles, France

2012 bip off (Biennale Internationale de la Photographie) L’amour s’expose, Galerie Saint-Luc, Liège, Belgium

Residencies:

2017 Artistic Exchange, Revela-T analogue festival, Vilassar de Dalt, Catalonia, Spain

Publications:

2017 (physical) She shoots Film, Issue 01, Self-Portrait, an exploration of film and analog process based on female self portraiture

2016 (online) Phasesmag, an online magazine that focuses on international contemporary photography 
(online) Don’t take pictures, a magazine published in print twice-yearly, in addition to regular online articles

www.aubree-laura.fr 
 

Ken Papagan says, "For me, a photograph, among other things, is most often used to document an experience or an event by use of a camera. 

This of course, provides a very exact depiction of the objects that were exposed in front of it.  The imagery is a mimetic capture of reflected light at that time. But what about the documentation of the emotion of that moment? 

Painters such as Monet utilized the canvas to depict their impressions of a scene not the physical exactitude of a representational image.  In my series: Banff After Images, I attempted to capture the emotional footprint that a chance encounter in the Canadian Rockies brought to me some time ago.  No camera was utilized, instead I attempted to document the state of mind the event caused in me after the fact. 

In the darkroom these color photograms were created using hand cut stencils layered successively in the dark then sequentially exposed under a color enlarger and processed in conventional color photographic chemistry."

Ken began taking photographs with a Polaroid camera when he was 14 years old, sparking a lifelong passion.  In his teens he moved on to becoming a self-taught photographer using a 35mm SLR and was awarded his first exhibit in the lobby of the corporate headquarters of Polaroid in Cambridge, Massachusetts in 1973.  In 1975, he was awarded a Fellowship to work on his Masters Degree in Photography and Cinema at The Ohio State University where he taught Photography. 

For two consecutive summers merit scholarships were bestowed by the Banff Centre for Fine Arts in Banff, Alberta, Canada to study Advanced Color Photography and Dye Transfer Color Printing.  During this period he exhibited at student and faculty galleries at OSU and the Banff Centre as well as local galleries in Columbus, Ohio.  Today, he continues his work with documentary, experimental, abstract and landscape photography. 

CONTACT INFO: streetphoto60@gmail.com

Kelly Wrage says of her series 'Flora Noir', "Lately, like a lot of people, I've been finding myself seeking comfort and hope in a world that seems to be racing toward manmade obliteration. 

I've just started a couple of new projects that use the natural world, which is diametrically opposed to the problems created by man yet directly affected by them, as a metaphor for the search. I am using images with stark contrast that were made using toy cameras and printing them using the gumoil process, which adds an even darker appearance to the imagery that is reminiscent of film noir or day for night cinematography.

The result is a journey through the woods that is frequently unsettling, or anxious, but punctuated by moments of peace and calm. These moments of peace unexpectedly seem to appear in the darkest of the images.

I was born and raised in Southern California but have been living on the East Coast for more than 30 years. I received my Bachelor of Fine Arts degree in Photography from the University of the Arts in Philadelphia, PA in 2010 and also have an Associate of Fine Arts degree in Fine Art studies from the Delaware College of Art and Design.

Although I work mainly with handmade photographic prints, I also work with digital photography, draw, paint, and occasionally make etchings and other types of prints."

CV

Educational Awards and Scholarships:

2008, Patron’s Award, Phillips Mill Photographic Exhibition 2009, Barbara Blondeau Memorial Grant, Finalist 

2009, Peters Valley Craft Education Center Award

Workshops:

2007, ’08, ’09 Marshall Bridge Welding Workshop (sculpture), Kennett Square, PA; Stan Smokler, instructor 

2007, ’08, ’09, ‘10 Alternative Photographic Processes and Advanced Alternative Photographic Processes, Maine Media Workshops, Rockport, ME; Christopher James, instructor

2012, Advanced Alternative Processes: Projects with Christopher James at the Santa Fe Photographic Workshops, Santa Fe, NM, continued instruction in wet plate photography.

2012-Present, Consistently takes yearly workshops, both private and group size with Christopher James, Diana Bloomfield, and others.

Teaching:

Delaware College of Art and Design, Continuing Education Program “Alternative Photographic Processes”, spring session 2008 and summer session 2008

Group Exhibitions:

2007, Delaware Women’s Conference, Delaware Art Museum, Wilmington, DE, and the Newark Arts Alliance, Newark DE

2008, A Decade of DCAD + 1 (fundraiser to benefit the college’s scholarship program), participated in the exhibition and artwork was sold in the auction, also volunteered services as staff support, Wilmington DE

2008, Phillips Mill Photographic Exhibition, Phillips Mill, New Hope PA

2008, Alternative Processes: A Traveling Exhibition, Christopher James, juror; Texas Photographic Society, San Antonio TX

2009, A Decade of DCAD + 2 (fundraiser to benefit the college’s scholarship program), participated in the exhibition and artwork was sold in the auction, Wilmington DE

2009, Delaware College of Art and Design Alumni Exhibition, Wilmington DE 2010, 

2009, Reverie 13, Gallery H, Burbank CA

2010, Print Exchange Program Participating Colleges/Universities: Alberta College of Art and Design, Alberta, Canada Collin College, Plano, TX Memphis College of Art, Memphis, TN Orange Coast College, Mesa, CA University of the Arts, Philadelphia, PA

2010, FotoFestiwal International Festival of Photography, Factory of Photography Exhibition, Lodz, Poland

2010, The Pin-up Show for the SPE National Conference in Philadelphia, The University of the Arts, Philadelphia

2010, Art Unleashed, The University of the Arts (benefit supporting student scholarships)

2012, Portfolio for American Dreaming featured on Fotomuseo's website from April to May.

2012, Three images from American Dreaming in the gallery exhibition "Play", A Smith Gallery, Johnson City, Texas. One given honorable mention. June 22 to July 29; juror Angela Bacon-Kidwell

2012, Image from American Dreaming in the online annex for the "Alternative Realities" exhibition at PhotoPlace Gallery, Middlebury, VT. August 7 - September 1, 2012; juror Laura Moya

2012, Two images from American Dreaming in the gallery exhibition "The Unreal" at The Kiernan Gallery, Lexington, VA; exhibition dates October 31 - December 1; juror Ken Rosenthal

2012, One image from American Dreaming chosen by Blue Mitchell for the Plates to Pixels catalog (published 12/28/12) and online gallery exhibition titled, "Enchantment"

2013, Two wet plate tintypes selected for the exhibition "Methods (Alternative)", one in the physical exhibition, one in the online gallery, The Kiernan Gallery, Lexington, VA; January 30 - February 23 2013; juror Christopher James

2013, One image from American Dreaming selected for exhibition in "TPS 22: The International Competition". First exhibition at A Smith Gallery, Johnson City, Texas from 3/1/13 - 3/31/13, then the show traveled for a year throughout the state of Texas. Juror: Blue Mitchell

2014, Gumoil print, "After the Fire, A Graceful Exit", selected for exhibition in “The Alternative Approach” at The Kiernan Gallery, Lexington, VA, Feb, 2014; juror: Christopher James

Publications:

Christopher James, The Book of Alternative Photographic Processes, Third Edition, (CENGAGE Learning, 2015)

The gumoil process, gumoil tutorial, www.alternativephotography.com/the-gumoil-process/, February, 2017

www.kellywrage.com 
 

Jane Wiley says, "I am a Southern woman. That can be a misleading statement, though, because I tend to avail myself of many methods of image-making to tell my story. I shoot both film and digital. I combine cutting edge historic techniques with modern (but bordering on obsolete) technology. I explain my view of life through my lens and hand-crafting photographic prints."

Jane Wiley was born an Air Force brat in Kittery, Maine and raised in North Carolina by a long line of avid amateur photographers and adventurous women. She looks like her father, but her mother's voice comes out of her mouth more with each passing day. She's been shooting since she was 15, but has found her vision in printing using historic photographic techniques.

CV: 

Exhibitions:

2017

Light Sensitive 2017: Celebrating Images from the Darkroom

Art Intersection, Gilbert, AZ

Small Works

Center for Fine Art Photography, Fort Collins, CO

Flora

Don’t Take Pictures Magazine online gallery, http://www.donttakepictures.com/gallery-flora/

Fairy Tales & Nuclear Bombs (What Happened to the Summer of Love)

Lightbox Photographic Gallery, Astoria, OR

Just Breathe

18% Grey, Greensboro, NC

Celebrating the Creative Process

PhotoPlace Gallery, Middlebury, VT

2016

Remnants: On the Edge of Avant-Garde and Antiquarian Photography

Lightbox Photographic Gallery, Astoria, OR

Color

SE Center for Photography, Greenville, SC

Portal

SE Center for Photography, Greenville, SC

2014

Society for Photographic Education Member Exhibit

Mufreesboro Center for the Arts, Middle Tennessee State University, TN

2013

Luminous Alchemy, SilverSpace Gallery, Asheville, NC

Raining Cats & Dogs, Charlotte ARTery, Charlotte, NC

2011

HATCH Asheville Juried Photography Contest – Up Close, “Intimate Proximity” JurorFavorite, Asheville, NC

Private Corporate Exhibit, Portraits from a Moonlight Garden, Charlotte, NC

Public Corporate Exhibit, Portraits from a Moonlight Garden, Charlotte, NC

2009

100 Beautiful Things Juried Exhibit, APA, Atlanta, GA

2008

Solo Exhibit, Sojourn in Venice, Gallery 620, Charlotte, NC

Fashion & Artist Showcase, Paris in Motion, Elan Studios, Charlotte, NC

2007

Wiley-Sussman Exhibit, Eufloria, Gallery 620, Charlotte, NC

2006

Masterton-Wiley Exhibit, Paris in Motion, Gallery 620, Charlotte, NC

2004

100 Artists Personal Masterpiece Exhibit, Hart-Witzen Gallery, Charlotte, NC

2003

Winter Exhibits, 1 and 2, Sanctuary Art, Charlotte, NC

Publications:

2017

The HAND Magazine, A Magazine for Reproduction-based Art, Issues #17

Published by Adam Finkleston, The HAND

SEITIES Publication, Theme: PORTRAIT

Shelf Life Books, Calgary, Alberta Canada

2016

The HAND Magazine, A Magazine for Reproduction-based Art, Issues #12

Published by Adam Finkleston, The HAND

Exquisite Corpse Volume 2: Extended Play

Published by Maine Media Workshops + College, Rockport, ME

SEITIES Publication, Theme: MUSIC

Shelf Life Books, Calgary, Alberta Canada

2015

Exquisite Corpse: 100 Photographers Play a Collaborative Game

Published by Maine Media Workshops + College, Rockport, ME

2012

Minerva Rising Literary Journal

Sojourn included in premiere issue, Beginnings

Collections:

Private collection, Bremen, Germany

Private collections, United States

Awards & Grants:

2010

Carter Foundation Scholarship, Maine Media Workshops,Rockport, ME


www.janewiley.com 



 

Janice Nagle says, "My work is about place, and how it informs identity.

Each artwork revolves around my conception of place at the time the piece is made, and often has a nostalgic feel and visual patina. Nostalgia can be a longing to be in two places at once. One can have nostalgia for the current place and time, or for a time and place that was, or will never be.

My work is meant to create a feeling of nostalgia for both the past and future of a landscape that is adrift in change, for a home that exists in all time, but that we can only truly understand in the current moment. I use various techniques such as abstraction, reflections, and image inversion to bring into question the verity of experience and memory.

The images presented here are from a series called, "Yards and Parks," and were shot with a DSLR through the viewfinder of an antique box camera."

Jan Nagle is a nationally exhibited multi-disciplinary artist who works primarily in photography, film/video, and installation. Originally from Sleepy Hollow, NY, she holds a BFA in photography from SUNY New Paltz, and an MFA from SUNY Buffalo.

Nagle's work is part of several public and private collections, including the permanent collections of Light Work in Syracuse, NY and The Burchfield Penney Art Center in Buffalo, NY. Nagle has held faculty positions at The School of Art and Design at Alfred University and Kendall College of Art and Design. She is currently Program Manager at The Center for Photography at Woodstock.

"The knack of flying is learning how to throw yourself at the ground and miss." - Douglas Adams

www.jannagle.com

Jan Cook says, "I think of this series as a bestiary from a daydream.

I titled this series Fugue, in reference to that idea. One definition of fugue is: a dreamlike state of altered consciousness that may last for hours or days.

With this work I am creating the feeling that one has when remembering a dream, not quite tangible, hazy and surreal. My images are portraits of figures from that illusory world. They are informed by memory, religious ritual and folklore.

Visually, I am interested in pushing the boundary between where the photographic image begins and ends. Conceptually, I see the combination of photograph and paint like magical realism in fiction, blurring the edges of belief.  I find the ambiguity in these altered photographs intriguing because it forces the viewer to question what he sees.  We tend to look at photographs as real. Manipulated images aren’t real and make the viewer try and figure out what is.

In this series I am using chromoskedasic painting to produce unique gelatin silver prints. The photographs are manipulated with chemistry during the black and white development process. This creates a range of subtle colors as well as a silvering out of the photographic paper. The process can be unpredictable and difficult to control as you can’t see the effects of the chemistry until after the marks develop. It does not allow for the same kind of detail as traditional painting. I feel it works well for this subject by creating a surreal landscape for my characters."

Jan Cook works with alternative photography and mixed media processes. Her images are a combination of photographic reality and fabrication created by using traditional darkroom techniques in unconventional ways.

She lives in Portland, Oregon and has exhibited in the US and Mexico. She lived Mexico and has traveled a lot in that region. She feels this has had a big influence on her imagery.

Recently she has exhibited at Gallery 1/1 and Gallery 110 in Seattle, she was published in Diffusion Magazine and received a Regional Arts and Council Professional Development Grant. Jan received her BFA in photography from the University of Washington. 

CV

SOLO AND FEATURED EXHIBITIONS

2017   Illumination - Capturing Light Without A Camera, Gallery 1of1, with Ross Sonnenberg Seattle, WA

2014   Scattered Light, Gallery 110, Seattle, WA

2012   Bright Ideas, Gallery 110, Spotlight Gallery, Seattle, WA


GROUP EXHIBITIONS

2016   2nd Annual Group Show, Davis Orton Gallery, Hudson, NY.  Juror: Paula Tognarelli

Diffusion Annual Exhibit, A Smith Gallery, Johnson City, TX.  Curated by Libby Rowe and Blue Mitchell

2011   The White Show, Gallery 110, Seattle, WA

Printmaking Now, Gallery 110, Seattle, WA

2010   Food for the Soul, Gallery 114, Portland, OR

Unbridled Narcissism, Blackfish Gallery, Portland OR  

Evergreen: A Sense of Place, WA State Convention and Trade Center, Seattle, WA

New Members: New Work, Gallery 110, Seattle, WA

2003    Recreated Realities, Colorado Photographic Arts Center, Denver, CO

  Happy Nude Year, Anya Tish Gallery, Houston TX

2002    Greenwood Art Walk, Seattle, WA

Annual Member's Showcase, Berkeley Art Center, Berkeley, CA

Member's Juried Exhibition, Juror: Marsha Burns, Photographic Center NW, Seattle, WA.

2001    The Volunteer Show, Photographic Center Northwest, Seattle, WA1999    Recuerdos de Mexico, Photographic Center Northwest, Seattle, WA

1997    Pushing Boundaries, Benham Studio, Seattle, WA

1996    Beyond Borders, Bumbershoot Arts Festival and Internet Gallery Show, Seattle, WA

1995    Beyond Mexico, Italia Restaurant, Seattle, WA

1994    Seattle Art Museum Rental Sales Gallery, Seattle, WA

GRANTS, AWARDS, RESIDENCIES

2017   Regional Arts and Culture Council Professional Development Grant

1997   Artist Trust Gap Grant Recipient

1991   Recognition Award “Nudes”, Northwest Film and Video Open, Chandler Fine Arts, Seattle, WA

ARTICLES, REVIEWS

2017   Kat Kiernan, Photo of the Day May 19, 2017, Don’t Take Pictures, http://www.donttakepictures.com/photo-of-the-day/?offset=1495972800145

Elin Spring, Altered States Abound at Photolucida 2017, What Will You Remember? Blog http://elinspringphotography.com/blog/photolucida-2017-altered-and-abstract-imagery/

2016   Blue Mitchell, Diffusion Magazine, Lemniscate of Diffusion Volume VII, 2016, “Mise-en-Scené Invitational”, page 82.

2015   Julie Grahame, online review on the @Curator blog

http://acurator.com/blog/2015/05/jan-cook-chromoskedasic-paintings.html

2004   Erica Wheeler, Camera Arts, “Blurring the Boundaries Among the Mediums”, August/September, pages  20-23.

1995   Robin Updike, The Seattle Times, "Colorful walls add to exhibits at Farris Gallery", August 15, 1995, Page F1.

1993   Regina Hackett, The Seattle P-I, "Photographers frame their own showing in Kirkland", March 11, 1993 Page C7.

1993   Carla Sabotta, The Seattle Times, "Photographers Pick Work of Their Peers", Page 30.

Laura Brunsman and Ruth Askey, Modernism and Beyond, Women Artists of the Pacific Northwest, Midmarch Arts Press, NY, Page 91.

1990    Exhibition Catalog: Art Works for Aids, Seattle Center Pavilion, Seattle, WA.  Curated by Chase Rynd.

RELATED EXPERIENCE

1988-2013

Photography jobs have included lifestyle, portraits, editorial, product shots, film stills for motion picture, stock for Getty Images and art documentation for artists. Staff Photographer for three years with Chihuly Studios and one year at the Cultural Institute of Tabasco, Mexico.

1988-1993

Partner and Curator, Galleria Potatohead, Seattle, WA

EDUCATION

1987    BFA Photography, University of Washington

1989   2 yrs Independent Study with Paul Berger, University of Washington Photo Dept.


www.jancook.com.
 

J. Jason Lazarus says of his series, 'EMBLEM AND ARTIFICE: WITHERED SYMBOLS OF THE WAR 1945. "In a world ravaged by the Second World War, wounds ran deep.

Seemingly permanent, the trauma inflicted and lessons learned from this global conflict were etched into the minds of the millions who suffered its effect. The horrors, the heroism, the defeats and victories were all carved into the collective psyche of a generation.

Surrounded by reminders of this conflict, these brutal memories were similarly imprinted onto all manner of artifacts – from a fallen soldier’s uniform to the flag of an oppressive regime. Most potent of these were the symbols that had defined the conflict itself – those icons of fear and hope, oppression and resistance.

These rival concepts often existed within the same symbol, even though history has often chosen to remember only one perspective. Coupled with the memories of a world on fire, these symbols were emblazoned with the regrets and hopes of all.

Looking back 70 years later, that turbulent and strong-willed generation has nearly passed on – and with them their painful memories. Those once-formidable symbols representing the collective regrets of a generation have begun to wither – and we foolishly begin to follow in footsteps best left forgotten.

As much as history holds lessons for us to learn, its narrow perspective often defines regrets shallowly, failing to remember the depth of our mistakes. To appreciate a symbol of hope, we must first understand why people feared it – and to understand an insignia of hate, we must understand why it inspired.  No reflection is complete without understanding its source – and so with each emblem, there exists an artifice."

J. Jason Lazarus is an Alaska-based photographer and educator who creates narrative- driven photographic work utilizing a wide range of alternative and historical photographic processes.

Although he considers himself primarily a film photographer, Lazarus has been teaching both traditional darkroom and digital photography courses at the University of Alaska in Fairbanks since 2005.

Much of Lazarus’ creative process is rooted in creating unique, handmade photographic objects utilizing under-appreciated and often obscure photographic processes. Lazarus’ most recent photographic focus involves using Chemigrams, a cameraless photographic process, and expired, antique photo paper to create a deeply personal project involving oft-forgotten symbolism from the Second World War.

Lazarus also spends the lengthy, dimly-lit winter months in Alaska creating unique portraits of its fragile tundra, finding an uncanny beauty among its bleak northern latitudes.

CV:

2017 – Current – Term Professor of Photography, Darkroom & Digital Labs Manager — UAF – Communication & Journalism Department  
2005 – 2017 – Adjunct Professor, Photography — UAF – Art and Journalism Departments & Summer Sessions  [List Classes Taught]
2004 – 2017 – Computer Systems / Darkroom Lab & Studio / Equipment Manager — UAF – Journalism Department

Education:
2010-2014:  MFA in Photography – Summa Cum Laude – Academy of Art University, San Francisco, Ca.
1998-2003:  BA in Journalism – Photojournalism – University of Alaska Fairbanks, Fairbanks, Ak.

Exhibition Record:

2017                            
Oct-Nov:    Juried Exhibition, Fairy Tales & Nuclear Bombs, Lightbox Photographic, Astoria, Or.    Juror: Diane Fenster
Oct:    Juried Exhibition, 32nd Annual 64th Parallel, Bear Gallery, AK Center, Fairbanks, Ak.    Honorable Mention    Juror: Emily Nachison
Aug-Nov:    Solo Exhibition, Stories Fading Fast, UA Museum of the North, Fairbanks, Ak.    34 prints on display
June    Featured Artist, Mining History Association Annual Conference, Fairbanks, Ak.    14 prints on display
May - July:    Juried Exhibition, Landscapes 2017, Center for Fine Art Photography, Fort Collins, Co.    Juror: Lisa Volpe
February:    Group Invitational, FAA Members Show, Bear Gallery, Fairbanks, Ak.    1 print on display
Jan-Feb:    Juried Exhibition, Snow & Ice, Gallery 1650, Los Angeles, Ca.    2 prints on display
January:    Art Fair, PhotoLA with Gallery 1/1, Los Angeles, Ca    2 prints on display

2016                            
December:    Solo Exhibition, Stories Fading Fast, 625 Gallery, San Francisco, Ca.    34 prints on display
December:    Group Invitational, Au: The Northern Element, Well Street Art Co., Fairbanks, Ak.    1 print on display
Nov-Dec:    Group Exhibition, Emblem and Artifice, Gallery 1/1, Seattle, Wa.    8 prints on display
Fall-Spring '17:    Juried Exhibition, Rarefied Light, Statewide touring show in Anchorage, Fairbanks & Kenai, Ak.    Juror: Amy Arbus
Oct-Dec:    Solo Exhibition, Irene Carlson Photography Gallery, University of La Verne, La Verne, Ca.    24 prints on display
Oct-Nov:    Juried Exhibition, 31st Annual 64th Parallel, Bear Gallery, AK Center, Fairbanks, Ak.    3rd Place    Juror: Jovencio de la Paz
September:    Juried Exhibition, Remnants, Lightbox Photographic, Astoria, Or.    Jurors: Nadezda Nikolova & Kaden Kratzer
July 30:    Group Popup Exhibition, Studio Buckman for Gallery 1/1, Burbank, Ca.    1 print on display
Apr-Mar ’17:    Juried Exhibition, Pacific Northwest Viewing Drawers, Blue Sky Gallery, Portland, Or.    Juror: Katherine Ware
March-April:    Juried Exhibition, Light Sensitive, Art Intersection, Gilbert, Az.    Juror: Susan Burnstine

2015                            
August:    Juried Exhibition, Mother Earth, Lightbox Photographic, Astoria, Or.    Juror: Stu Levy
May-June:    Solo Exhibition, Stories Fading Fast, RealArt Gallery, DeRidder, La.    28 prints on display
April:    Solo Exhibition, Stories Fading Fast, Resurrect Art, Seward, Ak.    14 prints on display
Jan-Feb:    Group Invitational, Stories Fading Fast featured, Millikin University, Decatur, Il.    14 prints on display
January:    Solo Exhibition, Stories Fading Fast, Alaska Pacific University, Anchorage, Ak.    28 prints on display

2014:                            
October:    Solo Exhibition, Stories Fading Fast, Kenai River Brewing Co., Soldotna, Ak.    14 prints on display
October:    Juried Exhibition, 29th Annual 64th Parallel, Bear Gallery, AK Center, Fairbanks, Ak.    Juror: Dennis Sipiorski
June:    Dual Exhibition, Stories Fading Fast featured, Well Street Art Co., Fairbanks, Ak.    28 prints on display
April:    Solo Exhibition, Stories Fading Fast, Fairbanks Community Museum, Fairbanks, Ak.    14 prints on display

2013:                            
November:    Juried Exhibition, 7th Annual Alt. Process Competition, SohoPhoto Gallery, New York, Ny.    Juror: Jill Enfield
May-June:    Juried Exhibition, AAU Spring Show 2013, Palace of Fine Arts, San Francisco, Ca.    Various Jurors
January:    Juried Exhibition, Enchantment 2012, Plates to Pixels Online Gallery, Portland, Or.    Juror: Blue Mitchell

2012:                            
Oct-Nov:    Group Exhibition, Living Light featured, Sipping Streams Team House, Fairbanks, Ak.    5 prints on display
October:    Juried Exhibition, 27th Annual 64th Parallel, Bear Gallery, AK Center, Fairbanks, Ak.    Juror: Michael Azgour
May-Aug:    Juried Exhibition, AAU Spring Show 2012, The Cannery, San Francisco, Ca.    Various Jurors

2010:                            
November:    Solo Exhibition, Living Light & Detrite: Alaska’s Hidden Past, Chartreuse, Fairbanks, Ak.    20 prints on display
Sept-Oct:    Solo Exhibition, Detrite: Alaska’s Hidden Past, River City Cafe, Fairbanks, Ak.    29 prints on display
       
Mentorships, Residencies & Workshops:
                    
2016: Workshop: Photogenic Drawings with Wet Plate Collodion    Instructor: Nadezda Nikolova
2015: Residency: Selected Artist-in-Residence: Meg Hunt Residency Wrangell Mountains Center.    Location: McCarthy, Ak.
2014: Workshop: Mordancage, Chemigram & Chromo Printing    Instructor: Christina Z. Anderson
2013: Mentorship: Refining VDB Printing Process & Digital Negative Creation    Mentor: Christina Z. Anderson
2012: Workshop: Albumen Printing    Instructor: Jill Enfield
2011: Workshop: Collodion Printing Out Paper    Instructor: France Scully Oesterman.

Publications, Awards & Press:

— Fairy Tales & Nuclear Bombs, Lightbox Photographic Juried Exhibition Catalog, October 2017
— Honorable Mention in: Fairy Tales & Nuclear Bombs, Lightbox Photographic, Astoria, Or. October 2017
— 3rd place in: 31st Annual 64th Parallel Art Show, Bear Gallery, Fairbanks, Ak. October 2016.
— Remnants, Lightbox Photographic Juried Exhibition Catalog, September 2016.
— The Hand: A Magazine for Reproduction-Based Art Issue 12, April 2016.
— Portfolio Featured in Alternative Photographic Processes: Crafting Handmade Images by Brady Wilks, published by Focal Press. pgs. 186-188. 2015.
— Raising the dead: Photographer aims to catch Alaska mining relics before they fade… Alaska Dispatch News --  2015.
— Fairbanks photographer seeks old mines: Abandoned digs hold stories. Fairbanks Daily News-Miner (AP Story)  – 2013.
— Enchantment 2012, Plates to Pixels Juried Exhibition Catalog.
— Fairbanks Concert Association’s “Ovation” – Various Publications, 2007-2011

www.obscura-works.com

Process: Using Kodabromide Paper that expired August 1, 1945 – five days before the Hiroshima Bomb – the paper is coated with a resist and the design cut into the resist.  Exposed to light, the paper is then alternated between developer and fixer (one print starts in the developer while the other starts in the fixer, and then alternated), allowing the chemistry to eat away the resist, exposing the paper to the chemistry. This action creates rust-like, decaying patterns of alternating exposed and undeveloped (yet “fixed”) areas.  Once the entire resist is washed off, the print is fixed completely and washed.

Isobel Davis says of her work: “I create art that registers the energy of a vibrant ecology at the edges of change, in a world where climate disruption threatens to impact sustenance for the vulnerable.  

Life’s transitions happen in the sweet spot of the ecotone, a convergence zone in biology where ecosystems intersect leading to explosive biodiversity and originality. Nature’s creativity at the edges is an instructive counterpoint to gloom-and-doom climate scenarios where the world food supply is at risk.

The imagery in this work includes the ghosted impressions of rice, a symbol of prosperity and abundance, and the energy of a productive food zone as a nod to nature’s creativity that nourishes us. Tangentially, it serves as a metaphor to describe the vitality of our social ecology and what feeds us non-materially.

In my studio practice, I choose mediums that force me to partner with nature’s unpredictability. The cyanotype mono print is composed outside, influenced by the variable effects of sun and weather, watercolor on paper is loosely controlled, embodying the energy and aliveness of the ecotone workspace.

Sometimes, I switch this equation up when I add a third layer, with pen and brush, responding intentionally to the surprise flaws and variables in the cyanotypes. Becoming one of the acting elements in the ecotone workspace.” 

Isobel was born and raised kicking around in the mountains, island farms and briny shores of the Pacific Northwest, where she finds many edges, biological and poetic, to examine and enjoy. She finds nature’s creativity instructive. 

Subsequent influences include travels in India and China, and a few years of maritime adventures as a cook in Mexico, and the Arctic, where she played with infrared photography. Isobel returned to the NW to raise her children. Her interest in the natural ecology, broadens to include the social ecology, and some of her artwork is dedicated to community engagement around food sustainability through participatory art projects and collaborations.  

Isobel received her B.A. in Fine Art at Principia College in Elsah, Illinois. She also studied at R.I.S.D., the San Francisco Art Institute, in Rome and Berlin.

For a decade she lived and engaged in art in NYC, including a stint working with the photography collection of the New York City Art Commission as an investigative art historian.

She has recently been elected to join Seattle's public art roster for matching projects the 1% for the arts program through the Office of Arts & Culture. Isobel currently maintains a studio at Inscape Arts, in Seattle’s Historic International District.

Artist CV:

Projects and Events:

2017 #WALKTHESPROUTS – Rainier Beach Arts and Music Festival (Rainier Beach BAAMFest), Seattle, WA. Rainier valley Food Bank, commissioned by Sam Osborne. Created a living sprouting temporary labyrinth using compost socks, and public interactive project, to reflect on what it takes to feed and be fed. Flexi-budget up to $900 including fundraising.

2016 MANDALA ART FOR FOOD SECURITY – Rainier Beach BAAMFest – Seattle, WA  Rainier valley Food Bank. Invited by  Sam Osborne and Elise Cope, project partners. Budget managed by RVFB, $300 budget not including donations.

2015 BUTOH IN THE ECOTONE – Row House Café – Seattle, WA.  Project Partners Haruko Crow Nishimura, Sherri Brown, Allan Sutherland. Butoh performance with Isobel’s painting exhibit and her Interactive hand-made cyanotype poetry cards, costume art, artifacts,  and thematically designed food bites. Budget $2000. 

2014-2017 LIP SMACKING GOOD – lip-smacking-good.blogspot.com at Bradner Gardens, Seattle, WA. Project Partners Bradner Gardens P-Patch, beneficiary is Rainier Valley Food Bank and community in general, crowd sourced recipe blog and food sovereignty demonstration crop –art installation site. Self-initiated project.

2014 BEELINE TO THE LAND OF MILK AND HONEY – Invited to give an art workshop and installation at the Public Affairs Conference on Sustainability – Principia College – Elsah, IL.  Partnered with students and faculty from the Sustainability department and art department. Workshop components: Pollinator’s garden collaborative, Sweet Talk in the swarm poetry interactive, and Endangered Fruits and Vegetables gallery. Budget was $2100 all-inclusive of airfare and lodging. 

2012 EAT WITH THE WORLD: THE MOST COMMON MEAL – Bradner Gardens, Seattle, WA. Project Partners Bradner Gardens P-Patch and chef Liz Cross, beneficiary is Rainier Valley Food Bank.  A community art installation opening weekend, and dinner event themed around world food staples, rice and grain, considering climate change and the most common meal, rice. Fundraiser for RVFB.  Bradner Gardens, Isobel Davis Art, and Liz Cross funded and donated to the event. $325 raised in donations. 

Exhibitions/Installations:

2017 SUBMERGENCE – solo installation and event experience at Inscape Gallery, with Video projection (pre-edited underwater footage donated by Matt Warning) and an oyster shell labyrinth with large resin pearls. Self-funded, self-curated. 

2017 SWEET SPOT IN THE ECOTONE – curated by Susan Cole, solo Cyantoype exhibit at Windermere Mt. Baker, Seattle, WA

2016 TRANSIENCE – L.A. Photo curated by Adam Finkelston, group exhibit – Online www.laphotocurator.com

2016 SHADES OF BLUE: CONTEMPORARY CYANOTYPES – selected for group exhibit – Potter Gallery SWMU – St. Joseph, MO

2016 NOCO 7 POP UP GALLERY – Group Exhibit - NW Green Home Tour, Columbia City – Seattle, WA 

2016 MAKING A STATEMENT: Artist Trust Edge graduates ‘13&’14, curated by D. Lisa and Anita West – BallardWorks – Seattle, WA 

2016 RECENT CYANOTYPE WORK – two artist, curated by Brian Lane, Collin's Pub – Seattle, WA

2016 PORTRAIT GALLERY OF ENDANGERED FRUITS AND VEGETABLES – solo installation at Open Studio  Inscape –  Seattle WA

2015-2016  FROM THE STUDIO OF ISOBEL DAVIS – Solo exhibit curated by Boris Gavaria and Terra Holcomb - Davis Wright Tremaine LLP – Bellevue, WA

2014-2015  ENERGY OF THE ECOTONE – Solo exhibit curated by Erin Mahler, at the Row House Café – Seattle, WA

2015 ECOTONE POETRY – Poetry Interactive – solo installation at open studio, Inscape – Seattle, WA

2014 THE PAINTING CENTER TURNS 21 –  Group Exhibit, The Painting Center – New York, NY 

2014 GIVE AND TAKE: installation with 5 trees –  Art of the City Festival – TK –  Seattle, WA

2014 SHIFTING ECOLOGIES – Juried group exhibit, curated by Marianne Van Lent, The Painting Center – New York, NY 

2014 FERRAL OBJECTS –Group exhibit curated by Peggy Cyphers, Creon Gallery – New York, NY

2014 SWEET TALK IN THE SWARM – Installation – solo installation at, Inscape – Seattle, WA

2014 OUT WITH A BANG – Group exhibit, curated by Ellen Hochberg, Anna Macrae, Dayton Knipher, Corridor Gallery, the Toshiro Kaplan Building – Seattle, WA

2014 WALK THIS WAY – Sustainable Food Lexicon Interactive – solo installation at Open Studio, Inscape – Seattle, WA

2014 ART AUCTION – Art work chosen for the Artist Trust Benefit Art Auction – Seattle, WA

2013 NATURE IN THE BALANCE: artists interpreting climate change – open group exhibition curated by Barbara Matilsky,

Whatcom Museum, Bellingham, WA  

2013 Inscape Artists – Group show at the Iron Door Gallery at Inscape – Seattle, WA

2013 ALLITERATION – Group show curated by Joseph Pentheroudakis, at the Iron Door Gallery at Inscape – Seattle, WA

2013 EDIBLE PARTS: GROW – solo Installation – Open Studio, Inscape – Seattle, WA 

Awards:

2017 finalist chosen by SDOT selection committee, for the “Missing Link” Burke Gillman Trail Completion Project for 1% for the arts designation, administered by the Office of art and Culture – Seattle, WA 

2017 Office of Art & Culture: Public Artist Roster – Seattle, WA 

2017 Office of Art & Culture: Public Artist Boot Camp Workshop – Seattle, WA 

2013 Edge Professional Development Residency at Centrum, Port Townsend, WA 

Artist Talks:

2017 Two Ponies Press "Original Lines Podcast" interview with Isobel Davis.  https://twoponiespress.com/podcast/original-lines-episode-1-art-food-mushroom-logs-artist-isobel-davis/

2017 Artist talk at “Sweet Spot in the Ecotone”, Windermere Mt. Baker, Seattle

2016 Artist talking tour and lunch, Davis Wright Tremaine LLP – Bellevue, WA

2014 Artist talk and slide show to senior art majors, Principia College, Elsah, IL 

2013 Public Artist Talk and Slideshow, Port Townsend, WA  

Bibliography

2017 Two Ponies Press "Original Lines Podcast" interview with Isobel Davis. 

https://twoponiespress.com/podcast/original-lines-episode-1-art-food-mushroom-logs-artist-isobel-davis/

2016 ST JOSEPH POST My art was soley featured in the news about the MSU cyanotype invitational exhibit http://www.stjosephpost.com/2016/09/22/shades-of-blue-cyanotype-exhibition-coming-to-missouri-western/ 2016 MWU PRESS RELEASE AND WEBSITE: https://www.missouriwestern.edu/news/2016/09/22/shades-of-blue-exhibit-at-potter-art-gallery/ – My image was also used in hand screen posters and press release.  

2016 SEATTLE TIMES mentions my project www.seattletimes.com/seattle-news/baamfest-celebrates-multicultural-south-seattle/?  Image #10

2015 RAINIER VALLEY NEWS LETTER Marching into SNAP cuts, sunchokes, and Seattle culinary adventures - http://eepurl.com/bTWWE5 Features my sunchoke art card

2014 ECOART– SHIFTING ECOLOGIES  Earth's Flotsam appears in the EcoArt section of Ecology.com website along with other artists from the exhibit Shifting Ecologies. See part  2 of 5 http://www.ecology.com/2014/08/15/shifting-ecologies-environmental-art-part-2/

2012 P-Patch Post “Food security fundraiser Collaboration” RVFB (Eat With the World: the Most Common Meal)  p8.


www.isobeldavisart.com

 

Fiona Howarth says, "My series examines environmental change in some of the most at risk areas of our world including the arctic, rainforests, wetlands, and glaciers. Each of these ecosystems have been effected differently over recent decades by extreme weather caused by our warming planet. With each image there is a story of loss, fragility and impending doom.

Honey Island Swamp is a marshland that is considered one of the most pristine swamplands left in the USA. During Hurricane Katrina high salt waters flooded the area and killed most vegetation and animals, stripped and toppled many of the trees devastating the area. Slowly it is recovering but the long term effects and the likelihood of this happening again remains unknown.

Coastal rainforests are one of the more buffered ecosystems in regards to environmental change; and yet they have been devastated by logging and human involvement. With shifting global temperatures we are starting to see even these areas changing as shown by increased glacier run off causing sedimentation in the water supply, invasive species moving in and devastating forests which in turn has led to an increase in forest fires with the warmer and drier summers. I have examined rainforests in British Columbia, USA, and Chile.

The escalating retreat of glaciers has been well documented over the past 150 years and the most significant losses have happened since 1980. Many of the glaciers are now 1/3 the size they were in 1850. The loss of the glaciers will limit our supply of fresh water and destroy the ecosystems that depend on them. The glaciers represented are some of the most at risk in Alaska, Chile, British Columbia, and Iceland.

Finally the most impacted area from global warming is the arctic. The arctic warms at twice the rate of the rest of the world which has been leading to widespread glacier and habitat loss for the species that reside there. Greenland in particular has been effected with large losses of the ice sheet and rapid melting devastating their glaciers.

Through this series I attempt to cause pause so we can examine our beautiful world and our direct impact on fragile areas that could very well be lost within our lifetime if change is not made soon."

Fiona Howarth has been an avid photographer for many years and has been internationally recognized for her compelling photographs. She has had formal training in photography completing a Bachelor of Arts from the University of the Fraser Valley. Her work has been exhibited in group and solo exhibits across Canada and the United States and been widely published.

Fiona’s photographic aesthetic revolves around time, memory, and loss. These constructs are the undercurrents of all of her images and tie her projects together. Her work seeks to address social and environmental issues on a local as well as international level and through her work affect change. Howarth attempts to cause people to pause and examine their beliefs and assumptions and uses photography to accomplish this by showing beauty in the overlooked ordinary.

Howarth uses film exclusively for all of her work and specializes in medium and large format photography. 


CV

2017
The Hand Magazine: Issue #18: October 

Culture Days: A Solo Exhibit, Clearbrook Library: Abbotsford: September

4th Fraser Valley Biennale 2017, The Reach: Abbotsford: September-December

4th Fraser Valley Biennale 2017, MAC Rock Family Gallery: Mission: August

Latent Image Magazine: Issue #11: June

Project Instant V4.0 - Retro Gratification, Telus World of Science: Vancouver: April-May

4th Fraser Valley Biennale 2017, O'Connor Gallery: Chilliwack: April-May

Perfect Imperfections, Gam Gallery: Vancouver: March

4th Fraser Valley Biennale 2017, Kariton Gallery: Abbotsford: January-February

2016

Art! Vancouver, Vancouver Convention Centre: Vancouver: May

Ideas of Breath, Ayden Gallery: Vancouver: January- February

2015

Positively Petite, Place des Arts: Coquitlam: November-December

3rd Fraser Valley Biennale 2015, Kariton Gallery: Abbotsford: July-August

Art! Vancouver, Vancouver Convention Centre: Vancouver: May

Buy One Get None: Conformity, Consumerism, and the Collective Voice, The Reach: Abbotsford: March-April

www.howarthphotography.com

Evy Cohen says, "My current work is a dialogue of light between photography and glass. I capture fragments of life, timeless snapshots, and details in nature, which, once isolated, lose their reality. I interrogate the perception we have of matter and existence that surround us.

For me glass is an enhancer of emotions, a sensuous material inviting touch, a space of liberty for the images. These take a new dimension, the light attracting the eye into the depth of the piece, leading it in an interval of reverie."

Since 2012 Evy Cohen has been engaged in a creative process focussed on imagery and glass. She has studied photography with visual artist Regina Virserius, glass casting with Silvia Levenson, fusing of images to glass with Joanne Teasdale, and paper thin pâte de verre with Saman Kalantari.

Commended photographer in 2017 Sony World Photography awards’ with her image « Fragments » as top 50 in the world Open Still Life category. She was 2016 Finalist "Emerge" biennial Bullseye Projects, Portland (USA).

Cohen’s Images « fused in kilnformed glass » have been exhibited in Europe and the USA. Evy is French born and lives in Paris.

CV-:
Arts Education

•Glass

2018: Kiln Cast Glass - Max Jacquard

Pâte de verre - Alison Lowry

Shifting bounderies - Silvia Levenson

2016: Frit de Verre - Anne Petters

Symposium - Jane Bruce

2015: Casting - Silvia Levenson

Paper-thin Pâte de verre - Saman Kalantari

2014: Joanne Teasdale: decals on fused glass

Gum printing - Carrie Iverson

2012: Murines - Martine & Jacki Perrin

•Photography: 2010-13 - Regina Virserius


Exhibitions:

2018: French Glass Biennal: Colombes

Shelter - New York

2017: ParisArtistes

Design & Crafts Paris – Berlin

SE Center for Photography – Alternatif Processes (USA)

Sony World Photography Awards – London (UK)

Revelations: Intern. Fine craft biennial - Paris

Pyramid Gallery: York (UK)

2016: Glass and Gardens Intern. Triennal, Munster (DE)

Intern. Glass days, Zwiesel (DE)

Emerge, Bullseye Exhibition (USA)

National Glass Center, Sunderland (UK)

2015: Glass biennal, Romont (Switzerland)

Awards:

2018: Elizabeth Horman Memorial Award for Photography (USA)

2017: Finalist  Ile de France  Arts & Crafts competition

Commended photographer Sony WPA Still Life category

2016: Emerge Finalist – Bullseye (USA)

2015: 2nd Prize Contemporary Glass Society

    
www.evycohen.co

Diane Fenster says of her series, 'What We Leave Behind', "For this series, I employ an imperfect image transfer process that acts as a metaphor for the fragility of memory and aging.

Both the mechanics of the process and the physicality of the image feel like a shedding of skin.This peeling away relates to the evidence of waning and loss within myself and others.

As we move through the years of our lives, we leave behind parts of ourselves along the way thereby creating a beauty derived from entropy."

Diane Fenster's art first received notice during the era of early experimentations with digital imaging. Her work has been called an important voice in the development of a true digital aesthetic.

She views herself as an alchemist, using digital tools to delve into fundamental human issues. Her work is literary and emotional, full of symbolism and multiple layers of meaning.  Her images have appeared in numerous photographic publications.

She has been guest lecturer at many seminars and conferences, her work has been internationally exhibited and is part of museum, corporate and private collections.

Her images appear in numerous publications on digital art including the APERTURE monograph METAMORPHOSES: PHOTOGRAPHY IN THE ELECTRONIC AGE, WOMEN, ART AND TECHNOLOGY published by MIT press, ART IN THE DIGITAL AGE edited by Bruce Wands, School of Visual Art, NYC and her work has been internationally exhibited and is part of museum, corporate and private collections. 

Recently however, Fenster has been moving away from the digital photomontage style that has brought her so much recognition and is venturing into an exploration of starker imagery that has its roots in toy camera photography, alternative process and photo-encaustic.

Her work was exhibited in the 4th Biennale of Fine Art and Documentary Photography in Berlin, she was a finalist in the Alternative Process category of the 9th Pollux Awards, a finalist in the Alternative Process and Portraits categories of the 7th Julia Margaret Cameron Awards, a finalist in the Alternative Process and Fine Art categories of the 8th Julia Margaret Cameron Awards, included in the Illuminate exhibit curated by Elizabeth Avedon, the Alternative Process exhibit juried by Christopher James at the Center for Fine Art Photography and published in the DIFFUSION ANNUAL 2016. Finalist in both the Fine Art and Nude & Figure Categories of the Second Charles Dodson Awards. Recent exhibits include FotofFoto gallery’s 13th National Competition, Let There be Light and Shadow at the Umbrella Arts Gallery in New York, Photography as Response at The Center for Fine Art Photography, Intimate Portraits exhibit at the SE Center for Photography, The Essence of Monochrome International Photo Competition sponsored byThe Stockholm Diary and exhibited in Budapest, SohoPhoto Alternative Process exhibit at the SohoPhoto Gallery in New York.

www.lensculture.com/diane-fenster

 

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