OUR NON-HUMAN COMPANIONS-Fran Forman > EXHIBITION #1
EXHIBITION #1
ON HIS WATCH by Beth Galton
FIRST PLACE
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FIRST PLACE
(Click on image for larger view)
COVID SYMPTOMS by Beth Galton
HE NEVER WORE PROTECTION by Beth Galton
Curator Fran Forman says, "This image is one of a series of powerful images that illuminate the anxiety, fear, chaos and politicization of the early covid crisis. Indeed, it was difficult to select just one image from this remarkable series. Each image, strongly composed, suggests the contradictory and confusing information leading to fear and isolation in the early months of the pandemic. The black field suggest the sense of the unknown, the fear and power of the disease. The swirls, motion, and blurring are strong visual metaphors for the lies and disinformation that exacerbated the global scourge.
Placing text on an adjacent page and the layout of each image, as in a diary, illuminates how each day seemed an eternity, each day a frightening or conflicting message from national figures as well as musings from the artist and others. The title “On His Watch” I assume suggests that the pandemic affected so many hundreds of thousands of Americans because former president Trump had publicly chosen to lie and disclaim its severity. The fact that over a million of Americans have perished - and I suspect this number is undercounted - is a permanent stain on our national conscience.
This particular image, On His Watch, includes only one item that could be associated with the pandemic: the mask. I see the cherries as symbolic of the blood that the virus often attacked. Other than the feather, the other objects are unclear and therefore open to the viewers interpretation, of course, I would ask the artist why she used the feather and the other objects.
I’m curious about how you selected the specific items in the image. What is the significance of the cherries, of the feather?"
Beth Galton says, "The red cherries are actually dried lychee nuts and played an important role in this series. I felt they visually resembled the illustrations I had seen of the virus and worked to symbolize the onslaught of the disease we were battling. Though I appreciate Fran’s interpretation of it representing blood, either interpretation relates back to my feelings about the virus and how deadly it is.
The feather and bird carcass represent death and the fragility of life. Birds, with their hollow bones are fragile things, and that seemed appropriate to illustrate how vulnerable we felt in the face of this deadly virus. Although much of my work begins intuitively, creating the effect of the transparent feather in the middle of the page of images of deceased covid patients spotlighted this fragility.
Other elements: Sometime in late October/ November 2020, news articles were being published online with photographs of people who had died from the virus. I screen grabbed these images and created a document which I printed on vellum. This is the main image, which is blue and green. The paper on the far right is a photo of Trump cropped and inverted in photoshop, then printed on the vellum as well."
Q: What are the elements you used?
A: In this photograph I used wire to suspend the paper, feather, lychee nuts and bird carcass all shot against a black background. By suspending it in wire, my intention was to create a contained portrait of my emotional feelings of that moment.
Q: Was the movement created in-camera or composited?
A: By using motion, I could illustrate the anxiety and lack of control the pandemic was causing me. Using a long shutter speed, and moving the suspended objects accomplished this effect. It is a simple technique that I spent hours experimenting with until I achieved the amount of blur that I wanted. Although some of the images in the series were composites this image was not.
Q: And what is the significance of the date, December1?
A: This image is a part of a series that I constructed which has become a diary of that time. I’ve attached a pdf so you can see it in context. Thus the date Dec 1, 2020 was written in response to the national death toll- it had risen to 270,000 and we were averaging 1,500 reported deaths per day.
Q: And lastly, how do you think these specific objects relate to the polarization of the pandemic in this country?
A: This photo comments on how many people had died, I felt due to the politicization of the pandemic because of Trump. If we had only been united as a country, the death rate would not have been so high. This politicization cost so many people their lives and still does.
More about Beth Galton
Artist statement: Covid Diaries
Beth Galton says, "This is an ongoing project about the Corona Virus. I have struggled like everyone with the magnitude of the pandemic-how it has insidiously spread and wreaked havoc around the globe. In March, while the virus began its universal spread, my world in NYC became my apartment. I knew in order to keep safe I wouldn't be able to access my studio, so I brought my camera to my home and constructed a small set next to a window.
I began my days looking at the NY Times and Washington Post online, hoping to find a glimmer of positivity. What I found and became obsessed with were the maps, charts, and headlines, tracking Covid-19’s spread. I screen grabbed and printed them out to see how the disease had multiplied and moved, soon realizing that each of these little visual changes affected millions of people. These charts were highly analytical, leaving out the immensity of the emotional toll of those affected. It became apparent that I had to use them in my photographs, to help me process this devastating experience.
With time, photographs of the vast number of people who had died began to appear in the news. Grids of people’s faces filled the screen; most having passed alone without family or friends beside them. As the virus moved through our country, many of our political leaders refused to acknowledge the dangers that it posed creating devastation and death. The incredible loss and the politics of this period was incorporated into these photographs.
This series began in March 2020 when NYC was the epicenter of the pandemic. It is a reflection of my emotions and thoughts through the past year and a half. By photographing this data and images, combined with botanicals, my intent is to speak to the humanity of those affected by this epidemic. Motion in the images was utilized to help convey the chaos and apprehensions we were all experiencing. Once assembled, I now see that these images are a visual diary of my life with Covid-19; the politics of the time and the way it has affected our everyday lives."
Beth Galton is a photo-based artist, with an educational background in the natural sciences and three decades of experience as a professional photographer in the editorial and commercial arena. These elements of her history are the lens through which she explores the world. Collecting objects, allowing time to affect botanical matter, these are the tools Beth uses to construct still life portraits. The stories speak to the cycles of nature, our connection to aging and mortality, and the fragility and resilience of the human experience. As a lifelong learner, Beth uses current technology to help articulate her message. She loves to harness natural light to capture the compositions by using a large format camera and digital back.
Beth’s fine art and professional work have won numerous accolades and been exhibited extensively throughout her career. Several of her personal projects have gained national and international regard.Beth lives and works in New York City, where she is moved and inspired by the city every day.
Career Highlights:
Both Beth’s professional and fine artwork have won numerous accolades and have been exhibited extensively throughout her career. Her Cut Food series received awards from the Art Director’s Club, PDN- Taste awards, Graphis, International Photography Awards, APANY, APA National and was covered in the press by Epicurious.com, Time.com, Washingtonpost.com and NPR to name a few. Amongst others, her work has been shown at Aperture, Milano Art Week Ode to Food, The Fence, Wave Hill, Praxis, FMoPA, SE Center for Photography, Griffin Museum and at MOCO in Montpellier, France. Her Covid Diary images is being turned into a book published by Fall Line Press next year.
All Images for sale:
20 x 20 inches
Limited edition of 10
Label signed
$600
Contact: Beth Galton
beth@bethgalton.com
https://bethgalton.com
https://www.bethgaltonfineart.com
Placing text on an adjacent page and the layout of each image, as in a diary, illuminates how each day seemed an eternity, each day a frightening or conflicting message from national figures as well as musings from the artist and others. The title “On His Watch” I assume suggests that the pandemic affected so many hundreds of thousands of Americans because former president Trump had publicly chosen to lie and disclaim its severity. The fact that over a million of Americans have perished - and I suspect this number is undercounted - is a permanent stain on our national conscience.
This particular image, On His Watch, includes only one item that could be associated with the pandemic: the mask. I see the cherries as symbolic of the blood that the virus often attacked. Other than the feather, the other objects are unclear and therefore open to the viewers interpretation, of course, I would ask the artist why she used the feather and the other objects.
I’m curious about how you selected the specific items in the image. What is the significance of the cherries, of the feather?"
Beth Galton says, "The red cherries are actually dried lychee nuts and played an important role in this series. I felt they visually resembled the illustrations I had seen of the virus and worked to symbolize the onslaught of the disease we were battling. Though I appreciate Fran’s interpretation of it representing blood, either interpretation relates back to my feelings about the virus and how deadly it is.
The feather and bird carcass represent death and the fragility of life. Birds, with their hollow bones are fragile things, and that seemed appropriate to illustrate how vulnerable we felt in the face of this deadly virus. Although much of my work begins intuitively, creating the effect of the transparent feather in the middle of the page of images of deceased covid patients spotlighted this fragility.
Other elements: Sometime in late October/ November 2020, news articles were being published online with photographs of people who had died from the virus. I screen grabbed these images and created a document which I printed on vellum. This is the main image, which is blue and green. The paper on the far right is a photo of Trump cropped and inverted in photoshop, then printed on the vellum as well."
Q: What are the elements you used?
A: In this photograph I used wire to suspend the paper, feather, lychee nuts and bird carcass all shot against a black background. By suspending it in wire, my intention was to create a contained portrait of my emotional feelings of that moment.
Q: Was the movement created in-camera or composited?
A: By using motion, I could illustrate the anxiety and lack of control the pandemic was causing me. Using a long shutter speed, and moving the suspended objects accomplished this effect. It is a simple technique that I spent hours experimenting with until I achieved the amount of blur that I wanted. Although some of the images in the series were composites this image was not.
Q: And what is the significance of the date, December1?
A: This image is a part of a series that I constructed which has become a diary of that time. I’ve attached a pdf so you can see it in context. Thus the date Dec 1, 2020 was written in response to the national death toll- it had risen to 270,000 and we were averaging 1,500 reported deaths per day.
Q: And lastly, how do you think these specific objects relate to the polarization of the pandemic in this country?
A: This photo comments on how many people had died, I felt due to the politicization of the pandemic because of Trump. If we had only been united as a country, the death rate would not have been so high. This politicization cost so many people their lives and still does.
More about Beth Galton
Artist statement: Covid Diaries
Beth Galton says, "This is an ongoing project about the Corona Virus. I have struggled like everyone with the magnitude of the pandemic-how it has insidiously spread and wreaked havoc around the globe. In March, while the virus began its universal spread, my world in NYC became my apartment. I knew in order to keep safe I wouldn't be able to access my studio, so I brought my camera to my home and constructed a small set next to a window.
I began my days looking at the NY Times and Washington Post online, hoping to find a glimmer of positivity. What I found and became obsessed with were the maps, charts, and headlines, tracking Covid-19’s spread. I screen grabbed and printed them out to see how the disease had multiplied and moved, soon realizing that each of these little visual changes affected millions of people. These charts were highly analytical, leaving out the immensity of the emotional toll of those affected. It became apparent that I had to use them in my photographs, to help me process this devastating experience.
With time, photographs of the vast number of people who had died began to appear in the news. Grids of people’s faces filled the screen; most having passed alone without family or friends beside them. As the virus moved through our country, many of our political leaders refused to acknowledge the dangers that it posed creating devastation and death. The incredible loss and the politics of this period was incorporated into these photographs.
This series began in March 2020 when NYC was the epicenter of the pandemic. It is a reflection of my emotions and thoughts through the past year and a half. By photographing this data and images, combined with botanicals, my intent is to speak to the humanity of those affected by this epidemic. Motion in the images was utilized to help convey the chaos and apprehensions we were all experiencing. Once assembled, I now see that these images are a visual diary of my life with Covid-19; the politics of the time and the way it has affected our everyday lives."
Beth Galton is a photo-based artist, with an educational background in the natural sciences and three decades of experience as a professional photographer in the editorial and commercial arena. These elements of her history are the lens through which she explores the world. Collecting objects, allowing time to affect botanical matter, these are the tools Beth uses to construct still life portraits. The stories speak to the cycles of nature, our connection to aging and mortality, and the fragility and resilience of the human experience. As a lifelong learner, Beth uses current technology to help articulate her message. She loves to harness natural light to capture the compositions by using a large format camera and digital back.
Beth’s fine art and professional work have won numerous accolades and been exhibited extensively throughout her career. Several of her personal projects have gained national and international regard.Beth lives and works in New York City, where she is moved and inspired by the city every day.
Career Highlights:
Both Beth’s professional and fine artwork have won numerous accolades and have been exhibited extensively throughout her career. Her Cut Food series received awards from the Art Director’s Club, PDN- Taste awards, Graphis, International Photography Awards, APANY, APA National and was covered in the press by Epicurious.com, Time.com, Washingtonpost.com and NPR to name a few. Amongst others, her work has been shown at Aperture, Milano Art Week Ode to Food, The Fence, Wave Hill, Praxis, FMoPA, SE Center for Photography, Griffin Museum and at MOCO in Montpellier, France. Her Covid Diary images is being turned into a book published by Fall Line Press next year.
All Images for sale:
20 x 20 inches
Limited edition of 10
Label signed
$600
Contact: Beth Galton
beth@bethgalton.com
https://bethgalton.com
https://www.bethgaltonfineart.com
PRIORITIZED by Beth Galton
(Click on image for larger view)
(Click on image for larger view)
THE ECONOMICS OF SAFETY by Beth Galton
WHERE THE VIRUS WAS by Beth Galton
SHE ASK FOR A ZEBRA by Dale Niles
HONORABLE MENTION
HONORABLE MENTION
Curator Fran Forman says, "I read this image as two generations contentedly living with the companionship with animals, but all are threatened by the toxins emitted by the crop duster flying perilously close."
Dale Niles says, of 'Life Revisited', "When I was a child, my family would pack into the station wagon and take long trips. I was usually sandwiched in between my two brothers to keep the peace. Once we got going, my mother would begin a story with a couple of sentences and then turn over the story to someone who would add their addition. We would go around and around in the car adding our additions which were sometimes humorous and nonsensical until the story was complete. It was amazing how quickly the time would go and laughter would almost always ensue.
Boxes of inherited vintage photographs, eclectic bits of family lore, and Mama’s stories propel and inform my photo montage work. Ancestral faces, belongings, travels, and ways of life creatively, sometimes fancifully, combine with my photographs to tell a story in my layered process. Often there is a bit of truth connected in the story to the person if I knew anything about them. Otherwise it becomes a wild tale of my fabrication. It is my way of preserving these images for a bit longer, bringing them back to life as a contemporary 'car tale'."
Born in Norfolk, Virginia, Niles’ formative years were spent with her family living in small, southern towns in Virginia and North Carolina. Inspired by the heritage of these locales, neighbors, and friends, she developed deep-seated southern roots that richly inform her photography practice with visual storytelling. Niles celebrates the diverseness of the human spirit, appreciating those qualities that make us delightfully unique, yet connected in many ways, particularly through shared experiences and preserved visual memories.
Niles majored in sociology at Lenoir Rhyne College in Hickory, North Carolina. While exploring opportunities in her chosen field, she pursued her artistic interests, ultimately discovering that photography was her passion. The medium offers Niles a wide berth of options for technique, subject matter, and her creative process.
Exhibitions include group and solo installations across the United States, Canada, Paris, France, and Venice, Italy.
Her prints are held in many private collections as well the Museum of Contemporary Art of Georgia (MOCA GA) and the Ogden Museum of Southern Art.
A selection of her work is currently exhibited at Mayo Clinic, Jacksonville, Florida. She was selected for Photolucida’s Critical Mass Top 200, Ones to Watch , the Fence, an exhibition at Hartsfield International Airport, and she won the Virginia Twinam Purchase Award.
Featured publications include: Light and Shadow Magazine, SouthxSoutheast Magazine, Shots, Lenscratch, The HAND Magazine, AllAboutPhoto and Oxford American.
Her book, What Lies With: the Eclectic Collections of Andrea Noel received recognition from Elizabeth Avedon as best photography book of 2021
WORK FOR SALE-
A Day At The Beach-12"H x 18.5" W
Archival paper
$500 unframed
Limited edition of 15
Signed on back
Animal House-11.5"H x 18" W
Archival paper
$500 unframed
Limited edition of 15
Signed on back
Mama Joined The Circus-18"H x 12" W
Archival paper
$500 unframed
Limited edition of 15
Signed on back
Mama Don't Let Your Babies Grow Up To Be Cowboys- 14.5"H x 18" W
Archival paper
$600 unframed
Limited edition of 15
Signed on back
She Ask For A Zebra-14"H x 18" W
Archival paper
$600 unframed
Limited edition of 15
Signed on back
Spilled Cherries-12"H x 18" W
Archival paper
$500 unframed
Limited edition of 15
Signed on back
Contact: Dale Niles
daleniles@comcast.net
https://www.dalenilesphotography.com/
Dale Niles says, of 'Life Revisited', "When I was a child, my family would pack into the station wagon and take long trips. I was usually sandwiched in between my two brothers to keep the peace. Once we got going, my mother would begin a story with a couple of sentences and then turn over the story to someone who would add their addition. We would go around and around in the car adding our additions which were sometimes humorous and nonsensical until the story was complete. It was amazing how quickly the time would go and laughter would almost always ensue.
Boxes of inherited vintage photographs, eclectic bits of family lore, and Mama’s stories propel and inform my photo montage work. Ancestral faces, belongings, travels, and ways of life creatively, sometimes fancifully, combine with my photographs to tell a story in my layered process. Often there is a bit of truth connected in the story to the person if I knew anything about them. Otherwise it becomes a wild tale of my fabrication. It is my way of preserving these images for a bit longer, bringing them back to life as a contemporary 'car tale'."
Born in Norfolk, Virginia, Niles’ formative years were spent with her family living in small, southern towns in Virginia and North Carolina. Inspired by the heritage of these locales, neighbors, and friends, she developed deep-seated southern roots that richly inform her photography practice with visual storytelling. Niles celebrates the diverseness of the human spirit, appreciating those qualities that make us delightfully unique, yet connected in many ways, particularly through shared experiences and preserved visual memories.
Niles majored in sociology at Lenoir Rhyne College in Hickory, North Carolina. While exploring opportunities in her chosen field, she pursued her artistic interests, ultimately discovering that photography was her passion. The medium offers Niles a wide berth of options for technique, subject matter, and her creative process.
Exhibitions include group and solo installations across the United States, Canada, Paris, France, and Venice, Italy.
Her prints are held in many private collections as well the Museum of Contemporary Art of Georgia (MOCA GA) and the Ogden Museum of Southern Art.
A selection of her work is currently exhibited at Mayo Clinic, Jacksonville, Florida. She was selected for Photolucida’s Critical Mass Top 200, Ones to Watch , the Fence, an exhibition at Hartsfield International Airport, and she won the Virginia Twinam Purchase Award.
Featured publications include: Light and Shadow Magazine, SouthxSoutheast Magazine, Shots, Lenscratch, The HAND Magazine, AllAboutPhoto and Oxford American.
Her book, What Lies With: the Eclectic Collections of Andrea Noel received recognition from Elizabeth Avedon as best photography book of 2021
WORK FOR SALE-
A Day At The Beach-12"H x 18.5" W
Archival paper
$500 unframed
Limited edition of 15
Signed on back
Animal House-11.5"H x 18" W
Archival paper
$500 unframed
Limited edition of 15
Signed on back
Mama Joined The Circus-18"H x 12" W
Archival paper
$500 unframed
Limited edition of 15
Signed on back
Mama Don't Let Your Babies Grow Up To Be Cowboys- 14.5"H x 18" W
Archival paper
$600 unframed
Limited edition of 15
Signed on back
She Ask For A Zebra-14"H x 18" W
Archival paper
$600 unframed
Limited edition of 15
Signed on back
Spilled Cherries-12"H x 18" W
Archival paper
$500 unframed
Limited edition of 15
Signed on back
Contact: Dale Niles
daleniles@comcast.net
https://www.dalenilesphotography.com/
A DAY AT THE BEACH by Dale Niles
(Click on image for larger view)
(Click on image for larger view)
ANIMAL HOUSE by Dale Niles
MAMA DON'T LET YOUR BABIES GROW UP TO BE COWBOYS By Dale Niles
MAMA JOINED THE CIRCUS by Dale Niles
(Click on image for larger view)
(Click on image for larger view)
SPILLED CHERRIES by Dale Niles
GRID BROWN-SNAKE, LENOIR,R-07-11-19 by Dan McCormack
(Click on image for larger view)
(Click on image for larger view)
Dan McCormack says, "I began photographing the nude while I was a grad school student and I have continued for over fifty years. I have explored varied cameras, techniques and photographic process to find new ways to make an image with the nude. I have worked with a pinhole camera now for the past twenty years. I shoot with 8x10 film and my indoors exposures require the model to hold still for two minutes.
About three years ago I began shooting with my cell phone. The cell phone camera has made making an image so spontaneous. These images are of the nude with toys and or shadows. In my submission to this exhibit I have submitted works from about two years with the same model. We share a sense of play with the diverse objects. There is little direction from me when we begin the shoot. The model begins and I follow the posing and compose my image.
In this pandemic, I photographed Lenoir with an intent to explore our emotions about the quarantine we both had emotions from."
Dan McCormack studied Photography at the Institute of Design in Chicago Next, he earned an MFA in Photography at the School of the Art Institute of Chicago.
He began photographing the nude with Wendy, his wife while in graduate school. Then for over fifty years he explored various techniques and processes while photographing the nude as a central theme.
In January 2010, Dan McCormack had a solo show at the Photography Center of the Capitol District in Troy, NY. He showed over fifty images from ten diverse series made from 1990 to 2010. Dan was one of the three founders of the Center for Photograpphy in Woodstock in 1975
In 1989 he was a founding member of Gallery 3 in Philadelphia, PA.
Dan McCormack has been teaching photography at Marist College in Poughkeepsie, NY for over thirty years and he now heads the film photography program.
Career Highlights:
In 1982, Dan McCormack won a NYSCA-CAPS Photography Fellowship with a series of infrared nude images made of Wendy. With that series, he produced his first monograph, "BODY LIGHT-Passages in a Relationship" in 1989.
In 1998 Dan began to work with pinhole camera photography. In 2009, he won the Ultimate Eye Foundation’s grant for Figurative Photography and had his work featured in an exhibition at the Peninsula Museum of Art in Belmont, CA.
https://phmuseum.com/dmccormack/story/cell-phone-camera-3x3-grids-of-a-nude-in-the-studio-ec2d6cf93e
https://www.facebook.com/dan.mccormack.10
Instagram:https://www.instagram.com/danmccormack1/
About three years ago I began shooting with my cell phone. The cell phone camera has made making an image so spontaneous. These images are of the nude with toys and or shadows. In my submission to this exhibit I have submitted works from about two years with the same model. We share a sense of play with the diverse objects. There is little direction from me when we begin the shoot. The model begins and I follow the posing and compose my image.
In this pandemic, I photographed Lenoir with an intent to explore our emotions about the quarantine we both had emotions from."
Dan McCormack studied Photography at the Institute of Design in Chicago Next, he earned an MFA in Photography at the School of the Art Institute of Chicago.
He began photographing the nude with Wendy, his wife while in graduate school. Then for over fifty years he explored various techniques and processes while photographing the nude as a central theme.
In January 2010, Dan McCormack had a solo show at the Photography Center of the Capitol District in Troy, NY. He showed over fifty images from ten diverse series made from 1990 to 2010. Dan was one of the three founders of the Center for Photograpphy in Woodstock in 1975
In 1989 he was a founding member of Gallery 3 in Philadelphia, PA.
Dan McCormack has been teaching photography at Marist College in Poughkeepsie, NY for over thirty years and he now heads the film photography program.
Career Highlights:
In 1982, Dan McCormack won a NYSCA-CAPS Photography Fellowship with a series of infrared nude images made of Wendy. With that series, he produced his first monograph, "BODY LIGHT-Passages in a Relationship" in 1989.
In 1998 Dan began to work with pinhole camera photography. In 2009, he won the Ultimate Eye Foundation’s grant for Figurative Photography and had his work featured in an exhibition at the Peninsula Museum of Art in Belmont, CA.
https://phmuseum.com/dmccormack/story/cell-phone-camera-3x3-grids-of-a-nude-in-the-studio-ec2d6cf93e
https://www.facebook.com/dan.mccormack.10
Instagram:https://www.instagram.com/danmccormack1/
GRID OCTAPUS, LENOIR,R-02-16-19 by Dan McCormack
GRID PONY-2, LENOIR,R-01-06-21 by Dan McCormack
A STORM DESCENDS by David Ellingsen
(Click on image for larger view)
(Click on image for larger view)
David Ellingsen is a Canadian photographer creating images that speak to the relationship between humans and the natural world.
He works predominantly in long-term projects with a focus on climate, biodiversity and the forest. This work, contextualized within our fraught relationship with the living planet, reflects emotional response to the anthropogenic destruction of the environments, natural systems and inhabitants of the planet.
Ellingsen’s recent exhibitions include China’s Lishui Museum of Art, the San Jose Institute of Contemporary Art, Lithuania’s Kaunas Photo Festival and Canada's Campbell River Museum.
Ellingsen’s photographs are part of the permanent collections of South Korea's Datz Museum of Art, China's Photography Museum of Lishui, and Canada's Beaty Biodiversity Museum and Royal British Columbia Museum.
They have been shortlisted for Photolucida's Critical Mass Book Award, appeared with National Geographic, and awarded First Place at the Prix de la Photographie Paris and the International Photography Awards. In his earlier years Ellingsen was a freelance assignment photographer, eventually shooting for clients such as the New York Times Magazine, Business Development Bank of Canada, Canadian Medical Association, Oprah Winfrey Network, People magazine and CBC Radio Canada.
With his husband, Ellingsen lives and works in the Pacific Northwest with a place-based practice formed by the landscape he grew up in. His photographs are made primarily between his home in Victoria and the island of Cortes, where he was raised, 150 miles to the north. Since arriving as that island’s first immigrant settlers in 1887, five generations of his family have resided on these traditional, unceded territories of the Klahoose, Tla’amin and Homalco First Nations.
WORK FOR SALE-
At the Terminus of Magical Thought
30x45 inches
Pigment ink on cotton rag
$2950.00 unframed
Edition of 7
Signed on front
Fragments
30x45 inches
Pigment ink on cotton rag
$2950.00 unframed
Edition of 7
Signed on front
The Spirits Ebb
30x45 inches
Pigment ink on cotton rag
$2950.00 unframed
Edition of 7
Signed on front
Ghosts of the Mind
30x45 inches
Pigment ink on cotton rag
$2950.00 unframed
Edition of 7
Signed on front
A Storm Descends
30x45 inches
Pigment ink on cotton rag
$2950.00 unframed
Edition of 7
Signed on front
Architects of An Ending
30x45 inches
Pigment ink on cotton rag
$2950.00 unframed
Edition of 7
Signed on front
Contact David Ellingsen
david@davidellingsen.com
www.davidellingsen.com
www.solastalgiaproject.com (project site)
www.instagram.com/davidellingsenphoto
He works predominantly in long-term projects with a focus on climate, biodiversity and the forest. This work, contextualized within our fraught relationship with the living planet, reflects emotional response to the anthropogenic destruction of the environments, natural systems and inhabitants of the planet.
Ellingsen’s recent exhibitions include China’s Lishui Museum of Art, the San Jose Institute of Contemporary Art, Lithuania’s Kaunas Photo Festival and Canada's Campbell River Museum.
Ellingsen’s photographs are part of the permanent collections of South Korea's Datz Museum of Art, China's Photography Museum of Lishui, and Canada's Beaty Biodiversity Museum and Royal British Columbia Museum.
They have been shortlisted for Photolucida's Critical Mass Book Award, appeared with National Geographic, and awarded First Place at the Prix de la Photographie Paris and the International Photography Awards. In his earlier years Ellingsen was a freelance assignment photographer, eventually shooting for clients such as the New York Times Magazine, Business Development Bank of Canada, Canadian Medical Association, Oprah Winfrey Network, People magazine and CBC Radio Canada.
With his husband, Ellingsen lives and works in the Pacific Northwest with a place-based practice formed by the landscape he grew up in. His photographs are made primarily between his home in Victoria and the island of Cortes, where he was raised, 150 miles to the north. Since arriving as that island’s first immigrant settlers in 1887, five generations of his family have resided on these traditional, unceded territories of the Klahoose, Tla’amin and Homalco First Nations.
WORK FOR SALE-
At the Terminus of Magical Thought
30x45 inches
Pigment ink on cotton rag
$2950.00 unframed
Edition of 7
Signed on front
Fragments
30x45 inches
Pigment ink on cotton rag
$2950.00 unframed
Edition of 7
Signed on front
The Spirits Ebb
30x45 inches
Pigment ink on cotton rag
$2950.00 unframed
Edition of 7
Signed on front
Ghosts of the Mind
30x45 inches
Pigment ink on cotton rag
$2950.00 unframed
Edition of 7
Signed on front
A Storm Descends
30x45 inches
Pigment ink on cotton rag
$2950.00 unframed
Edition of 7
Signed on front
Architects of An Ending
30x45 inches
Pigment ink on cotton rag
$2950.00 unframed
Edition of 7
Signed on front
Contact David Ellingsen
david@davidellingsen.com
www.davidellingsen.com
www.solastalgiaproject.com (project site)
www.instagram.com/davidellingsenphoto
ARCHITECTS OF AN ENDING by David Ellingsen
AT THE TERMINUS OF MAGICAL THOUGHT by David Ellingsen
FRAGMENTS by David Ellingsen
(Click on image for larger view)
(Click on image for larger view)
GHOSTS OF THE MIND by David Ellingsen
THE SPIRITS EBB by David Ellingsen
RICHMAN BEACH BUM by Jennifer McKinnon
(Click on image for larger view)
(Click on image for larger view)
Jennifer McKinnon Richman says, "'Uncontained Consumption is a series of composited photographic images created as an abstract representation of commonly found marine debris polluting our oceans.
Each piece is a commentary about the role humans play in the destruction of our natural environment and the creatures and ecosystems we destroy along the way. It is estimated that 70-80% of marine debris originates on land as a result of improperly discarded trash. Most marine debris is made from plastic including: cigarette butts, single-use wrappers, drink bottles, straws, bags, synthetic fibers and more.
Plastic debris floating in the ocean poses a major threat to marine creatures who commonly mistake floating plastic for food or become entangled in nets and other floating debris.
Mimicking the process by which floating garbage patches and underwater trash heaps are formed from bits and pieces of trash coming together, each piece in the series was created from selections from as few as four and up to fourteen different photographs featuring the walls of dumpsters.
Images are layered on top of an original photograph taken of the ocean, until the original ocean is barely visible, symbolizing the overtaking of our oceans by trash. Each piece in the series depicts a world where man and nature converge: grease stains dissolve into beautiful ocean blue hues dotted with “microbeads”; textured goop covering a dumpster wall becomes “plastic bags” floating in the waves; paint splatter is transformed into crashing waves of sea “styrofoam”.
By the year 2050 scientists predict there will be more plastic in the ocean than fish. Our trash is destroying the natural world, its ecosystems, and the creatures living within them - it is time to stop trashing the planet."
Jennifer McKinnon Richman is a self-taught artist and photographer who began her career twenty years ago as a decoupage/collage artist. During the last ten years while living in Atlanta, Georgia, Jennifer has focused on photographing dumpsters, using them as a vehicle to bring awareness to the human role of waste and consumption on our natural resources. By combining her background in collage with her photographic work, she brings a unique voice to the environmental art space.
Jennifer’s work has been featured as part of group exhibits around Atlanta including the Atlanta Photography Group, Mason Fine Art, the Atlanta Artists Center, and in addition to several online exhibits and publications including SouthXSoutheast Magazine. Work from her first series, Uncontained Consumption, has been recognized by The Print Center’s 96th Annual International Competition, Mozaik Ecosystem X, and the 2022 Texas Photographic Society National Photography Awards. She is currently represented by Spalding Nix Fine Art Gallery in Atlanta, Georgia.
WORK FOR SALE-
Drink - 18"H x 24"W
Archival pigment print on Hahnemuhle archival paper
$500 unframed
Limited edition of 10
Signed on front
Whitecaps - 24"H x 18"W
Archival pigment print on Hahnemuhle archival paper
$500 unframed
Limited edition of 10
Signed on front
Beach Bum - 24"H x 18"W
Archival pigment print on Hahnemuhle archival paper
$500 unframed
Limited edition of 10
Signed on front
Waterlogged - 24"H x 18"W
Archival pigment print on Hahnemuhle archival paper
$500 unframed
Limited edition of 10
Signed on front
Sand Dollars - 18"H x 24"W
Archival pigment print on Hahnemuhle archival paper
$500 unframed
Limited edition of 10
Signed on front
Seascape - 24"H x 18"W
Archival pigment print on Hahnemuhle archival paper
$500 unframed
Limited edition of 10
Signed on front
Contact: Jennifer Richman
jennifer@jennifermckinnon.com
www.JenniferMcKinnon.com
https://www.instagram.com/jennifermckinnonrichman/
https://m.facebook.com/JenniferMcKinnonRichman/
Each piece is a commentary about the role humans play in the destruction of our natural environment and the creatures and ecosystems we destroy along the way. It is estimated that 70-80% of marine debris originates on land as a result of improperly discarded trash. Most marine debris is made from plastic including: cigarette butts, single-use wrappers, drink bottles, straws, bags, synthetic fibers and more.
Plastic debris floating in the ocean poses a major threat to marine creatures who commonly mistake floating plastic for food or become entangled in nets and other floating debris.
Mimicking the process by which floating garbage patches and underwater trash heaps are formed from bits and pieces of trash coming together, each piece in the series was created from selections from as few as four and up to fourteen different photographs featuring the walls of dumpsters.
Images are layered on top of an original photograph taken of the ocean, until the original ocean is barely visible, symbolizing the overtaking of our oceans by trash. Each piece in the series depicts a world where man and nature converge: grease stains dissolve into beautiful ocean blue hues dotted with “microbeads”; textured goop covering a dumpster wall becomes “plastic bags” floating in the waves; paint splatter is transformed into crashing waves of sea “styrofoam”.
By the year 2050 scientists predict there will be more plastic in the ocean than fish. Our trash is destroying the natural world, its ecosystems, and the creatures living within them - it is time to stop trashing the planet."
Jennifer McKinnon Richman is a self-taught artist and photographer who began her career twenty years ago as a decoupage/collage artist. During the last ten years while living in Atlanta, Georgia, Jennifer has focused on photographing dumpsters, using them as a vehicle to bring awareness to the human role of waste and consumption on our natural resources. By combining her background in collage with her photographic work, she brings a unique voice to the environmental art space.
Jennifer’s work has been featured as part of group exhibits around Atlanta including the Atlanta Photography Group, Mason Fine Art, the Atlanta Artists Center, and in addition to several online exhibits and publications including SouthXSoutheast Magazine. Work from her first series, Uncontained Consumption, has been recognized by The Print Center’s 96th Annual International Competition, Mozaik Ecosystem X, and the 2022 Texas Photographic Society National Photography Awards. She is currently represented by Spalding Nix Fine Art Gallery in Atlanta, Georgia.
WORK FOR SALE-
Drink - 18"H x 24"W
Archival pigment print on Hahnemuhle archival paper
$500 unframed
Limited edition of 10
Signed on front
Whitecaps - 24"H x 18"W
Archival pigment print on Hahnemuhle archival paper
$500 unframed
Limited edition of 10
Signed on front
Beach Bum - 24"H x 18"W
Archival pigment print on Hahnemuhle archival paper
$500 unframed
Limited edition of 10
Signed on front
Waterlogged - 24"H x 18"W
Archival pigment print on Hahnemuhle archival paper
$500 unframed
Limited edition of 10
Signed on front
Sand Dollars - 18"H x 24"W
Archival pigment print on Hahnemuhle archival paper
$500 unframed
Limited edition of 10
Signed on front
Seascape - 24"H x 18"W
Archival pigment print on Hahnemuhle archival paper
$500 unframed
Limited edition of 10
Signed on front
Contact: Jennifer Richman
jennifer@jennifermckinnon.com
www.JenniferMcKinnon.com
https://www.instagram.com/jennifermckinnonrichman/
https://m.facebook.com/JenniferMcKinnonRichman/
RICHMAN DRINK by Jennifer McKinnon
RICHMAN SAND DOLLARS by Jennifer McKinnon
RICHMAN SEASCAPE by Jennifer McKinnon
(Click on image for larger view)
(Click on image for larger view)
RICHMAN WATERLOGGED by Jennifer McKinnon
RICHMAN WHITECAPS by Jennifer McKinnon
(Click on image for larger view)
(Click on image for larger view)
ELEPHANT SEAL by JJ L'Heureux
(Click on image for larger view)
(Click on image for larger view)
JJ L'Heureux says, "This is a series of faces (portraits) from the Southern Ocean. My intention is to introduce you to the Faces of a few of the notable inhabitants I have met and spent time with throughout the Southern Ocean, its islands and Antarctica. It is a way of coming to some tentative conclusions about the new person and a means to establish a file, a memory. Another of my purposes is to give you a close up of an individual face that you may never have the opportunity to experience. I hope that in seeing some of these fellow beings as individuals that they will become more memorable to you.
WORK FOR SALE-
Wandering Albatross Chick
Archival Paper
$500 unframed
Limited edition of 7
Signed on front
New Zealand Sea Lion
Archival Paper
$500 unframed
Limited edition of 7
Signed on front
King Penguin
Archival Paper
$500 unframed
Limited edition of 7
Signed on front
Elephant Seal
Archival Paper
$500 unframed
Limited edition of 7
Signed on front
Royal Penguin
Archival Paper
$500 unframed
Limited edition of 7
Signed on front
Imperial Shag
Archival Paper
$500 unframed
Limited edition of 7
Signed on front
Contact: JJ L'Heureux
www.jjLHeureux.com
WORK FOR SALE-
Wandering Albatross Chick
Archival Paper
$500 unframed
Limited edition of 7
Signed on front
New Zealand Sea Lion
Archival Paper
$500 unframed
Limited edition of 7
Signed on front
King Penguin
Archival Paper
$500 unframed
Limited edition of 7
Signed on front
Elephant Seal
Archival Paper
$500 unframed
Limited edition of 7
Signed on front
Royal Penguin
Archival Paper
$500 unframed
Limited edition of 7
Signed on front
Imperial Shag
Archival Paper
$500 unframed
Limited edition of 7
Signed on front
Contact: JJ L'Heureux
www.jjLHeureux.com
IMPERIAL SHAG by JJ L'Heureux
KING PENGUIN by JJ L'Heureux
NZ DEA LION by JJ L'Heureux
(Click on image for larger view)
(Click on image for larger view)
ROYAL PENGUIN by JJ L'Heureux
WANDERING ALBATROSS CHICK by JJ L'Heureux
(Click on image for larger view)
(Click on image for larger view)
BROADWAY WALK by Joanna Madloch
(Click on image for larger view)
(Click on image for larger view)
Joanna Madloch says, "I grew up in the Eastern Bloc in the 1970s. Among numerous restrictions imposed by the autocratic government on its citizens, the one I remember most vividly is an image depicting a crossed-out camera. There were “No Photography” signs on railroad crossings, on the gate to the factory where my parents worked, even near my school. I always wondered what kind of power the little machine possessed that it made the seemingly omnipotent authorities so afraid.
I got my answers when I first looked through the viewfinder of a little Smena (appropriately, the name of this Soviet-manufactured camera means ‘the change’). The world observed through the tiny frame appeared different -- more real and magical at the same time. Straight away, I got hooked. While for a long time it was impossible for me to own a camera, I practiced mental photography by framing the world with my hands.
Now, with my camera in hand, I see myself as a flaneur with a superpower. Like a mythological trickster, I balance between different worlds, uncover visual association, and construct semantic links. My little Leica contains a portal to alternate realities. When the aperture opens, the gates between realities unlock, the boundaries get obscured, and the time/space continuum becomes irrelevant. By releasing the shutter, I catch the pictorial manifestations of these phenomena. My photographs pay homage to our grounding in primeval stories and our connection to the collective mythical past. I photograph everyday streets, but my images reveal the multiplicity of meanings embedded in our visible reality."
Joanna Madloch is a NJ-based photographer, writer, and scholar. She has a PhD in Humanities and studied photography at ICP and Penumbra Foundation. She is the author of over 30 scholarly articles and the book about Joseph Brodsky. Her photographic work has been widely exhibited in the US, in Europe, and in Australia.
List of recent exhibitions (2022 only)
“Head On PhotoFest.” Sydney (Australia). November 1-30.
“WOW: Worlds of Women.” Trieste Photo Days, Trieste (Italy). October 26- November 6.
"Soho Photo National Competition." Soho Photo Gallery. NYC (NY). July13-August7.
“Urban, Suburban, Rural”. NYC4PA.
"Tell Me More About Yourself." (Self-Portraits and Other Autobiographical Endeavors) curated by Juno Zago. Aferro. Newark, NJ. June 25-August 5.
“The Ephemeral and the Evanescence Perception.” By Loosenart. Millepiani (Rome, Italy). June 16- 25.
“Stories: Narrative Photography.” PH21 Gallery. Budapest (Hungary). June 2-25.
“The Streets.” Praxis Gallery. Minneapolis (MI). April 16-30.
“Women Streets Photographers.” Finalist. Artspace PS109. NYC (NY). April 8-2
17th Pollux Awards and Exhibitions.” FotoNostrum Gallery. Barcelona (Spain). October 13-30.
“On Clothing: the Visible Self.” Millepiani Exhibition Space. Rome (Italy). March 28-April 6.
“Feminist Insight: Telling Her Story.” Ellington-White Contemporary. Fayetteville (NC). March 16-April30.
“Personality: Contemporary Portraiture.” PH21 Gallery. Budapest (Hungary). March 10-April 2.
“Feminine/Masculine.” PH21 Gallery. Budapest (Hungary). February 10-March 5.
“Photo But Not Photo.” Float Photo Magazine on-line group exhibition. https://www.floatmagazine.us/online-exhibitions/exhibitions/photo-but-not-photo#group-41
“The Shadow Aspect.” Praxis Gallery. Minneapolis. January 15-January 29.
All listed images are for sale:
Broadway Walk 13" H x19"W
Fine Art Photo Print
$250 unframed
Limited edition of 15
Signed on back
Fur 13" H x19"W
Fine Art Photo Print
$250 unframed
Limited edition of 15
Signed on back
Good Boy 13" H x19"W
Fine Art Photo Print
$250 unframed
Limited edition of 15
Signed on back
Hybrid 13" H x19"W
Fine Art Photo Print
$250 unframed
Limited edition of 15
Signed on back
Red 13" H x19"W
Fine Art Photo Print
$250 unframed
Limited edition of 15
Signed on back
Twins 13" H x19"W
Fine Art Photo Print
$250 unframed
Limited edition of 15
Signed on back
Contact: Joanna Madloch
threeimpossible@gmail.com
www.joannamadloch.com
www.instagram.com/joanna_madloch
I got my answers when I first looked through the viewfinder of a little Smena (appropriately, the name of this Soviet-manufactured camera means ‘the change’). The world observed through the tiny frame appeared different -- more real and magical at the same time. Straight away, I got hooked. While for a long time it was impossible for me to own a camera, I practiced mental photography by framing the world with my hands.
Now, with my camera in hand, I see myself as a flaneur with a superpower. Like a mythological trickster, I balance between different worlds, uncover visual association, and construct semantic links. My little Leica contains a portal to alternate realities. When the aperture opens, the gates between realities unlock, the boundaries get obscured, and the time/space continuum becomes irrelevant. By releasing the shutter, I catch the pictorial manifestations of these phenomena. My photographs pay homage to our grounding in primeval stories and our connection to the collective mythical past. I photograph everyday streets, but my images reveal the multiplicity of meanings embedded in our visible reality."
Joanna Madloch is a NJ-based photographer, writer, and scholar. She has a PhD in Humanities and studied photography at ICP and Penumbra Foundation. She is the author of over 30 scholarly articles and the book about Joseph Brodsky. Her photographic work has been widely exhibited in the US, in Europe, and in Australia.
List of recent exhibitions (2022 only)
“Head On PhotoFest.” Sydney (Australia). November 1-30.
“WOW: Worlds of Women.” Trieste Photo Days, Trieste (Italy). October 26- November 6.
"Soho Photo National Competition." Soho Photo Gallery. NYC (NY). July13-August7.
“Urban, Suburban, Rural”. NYC4PA.
"Tell Me More About Yourself." (Self-Portraits and Other Autobiographical Endeavors) curated by Juno Zago. Aferro. Newark, NJ. June 25-August 5.
“The Ephemeral and the Evanescence Perception.” By Loosenart. Millepiani (Rome, Italy). June 16- 25.
“Stories: Narrative Photography.” PH21 Gallery. Budapest (Hungary). June 2-25.
“The Streets.” Praxis Gallery. Minneapolis (MI). April 16-30.
“Women Streets Photographers.” Finalist. Artspace PS109. NYC (NY). April 8-2
17th Pollux Awards and Exhibitions.” FotoNostrum Gallery. Barcelona (Spain). October 13-30.
“On Clothing: the Visible Self.” Millepiani Exhibition Space. Rome (Italy). March 28-April 6.
“Feminist Insight: Telling Her Story.” Ellington-White Contemporary. Fayetteville (NC). March 16-April30.
“Personality: Contemporary Portraiture.” PH21 Gallery. Budapest (Hungary). March 10-April 2.
“Feminine/Masculine.” PH21 Gallery. Budapest (Hungary). February 10-March 5.
“Photo But Not Photo.” Float Photo Magazine on-line group exhibition. https://www.floatmagazine.us/online-exhibitions/exhibitions/photo-but-not-photo#group-41
“The Shadow Aspect.” Praxis Gallery. Minneapolis. January 15-January 29.
All listed images are for sale:
Broadway Walk 13" H x19"W
Fine Art Photo Print
$250 unframed
Limited edition of 15
Signed on back
Fur 13" H x19"W
Fine Art Photo Print
$250 unframed
Limited edition of 15
Signed on back
Good Boy 13" H x19"W
Fine Art Photo Print
$250 unframed
Limited edition of 15
Signed on back
Hybrid 13" H x19"W
Fine Art Photo Print
$250 unframed
Limited edition of 15
Signed on back
Red 13" H x19"W
Fine Art Photo Print
$250 unframed
Limited edition of 15
Signed on back
Twins 13" H x19"W
Fine Art Photo Print
$250 unframed
Limited edition of 15
Signed on back
Contact: Joanna Madloch
threeimpossible@gmail.com
www.joannamadloch.com
www.instagram.com/joanna_madloch
FUR by Joanna Madloch
GOODBOY by Joanna Madloch
HYBRID by Joanna Madloch
(Click on image for larger view)
(Click on image for larger view)
RED by Joanna Madloch
TWINS by Joanna Madloch
(Click on image for larger view)
(Click on image for larger view)
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EXHIBITION #1:
https://laphotocurator.com/our-non-human-companions-fran-forman/exhibition-1/1
EXHIBITION #2:
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OUR NON-HUMAN COMPANIONS HOME PAGE:
https://laphotocurator.com/our-non-human-companions-fran-forman
FIRST PLACE:
https://laphotocurator.com/our-non-human-companions-fran-forman/first-place-beth-galton-on-his-watch----/1
HONORABLE MENTIONS:
https://laphotocurator.com/our-non-human-companions-fran-forman/honorable-mentions-dale-niles-she-asks-for-a-zebra-judy-brown-baby-s-breath-with-liam-melissa-lynn-amur-tiger-vicky-stromee-enigmatic-iguanas-suzi-moore-mcgregor-dragon-and-reef-----/1
BEST SERIES:
https://laphotocurator.com/our-non-human-companions-fran-forman/best-series-polina-schneider/1
EXHIBITION #1:
https://laphotocurator.com/our-non-human-companions-fran-forman/exhibition-1/1
EXHIBITION #2:
https://laphotocurator.com/our-non-human-companions-fran-forman/exhibition-2/1
