SELF-PORTRAIT-Curator Laurie Freitag > Exhibition #2
Exhibition #2
SLIP by Jo Ann Chaus
FIRST PLACE & BEST SERIES
(Click on image for larger view)
FIRST PLACE & BEST SERIES
(Click on image for larger view)
Review by curator Laurie Freitag:
"Slip' by Jo Ann Chaus didn't immediately jump out at me but something called to me and I came back to the image. There was something disturbing about the image and being that this process of choosing is so subjective I let it flow over me.
The longer I looked at the image the more I saw. There is sadness in this self-portrait...and defeat. The disturbing part is what seems like a concession of defeat. Perhaps a giving-up.
The slip has fallen off of the subject's shoulder and it's as if that action is fine with the subject. The face is expressionless, perhaps a mask for what is really happening inside.
The subject seems androgynous. There is an uncertainty of gender and I became further interested in the story.
The side view implies a breast with the suntan lines highlighting the covered area. Is this subject transgender? Is this subject trapped in a body that doesn't fit them? Are there struggle issues of conforming with standards of accepted forms of female beauty? There is alot going on here. The hat with feathers going every which way; a metaphor for doing the right thing, appearing the right way?
What about the pink trees in the background? In the subject's bird-like hat, what tree do they fly to? The subject stands; isolated, separate from the tree. There is lonliness though birds of a feather flock together. The choice to be separate from the flock, turning sideways, perhaps no one will notice?
A fascinating image Jo Ann!
I found that the more I viewed this image the more I wanted to know. The title 'Slip' seems to say a lot metaphorically as well as literally. I can easily create my own story in looking at the image. Can you tell me a little bit about the story you wanted to tell?"
Jo Ann Chaus says, "
This image, Slip, is from a larger body of work, predominantly self portraits, where I assume the role of either a version of myself or a persona I've conjured up when I stepped into the costume and setting. I am expressing an unsettled state this woman's found herself in, either before or after an event. It is unclear, purposely; it is open to interpretation.
Am I talking about a woman as an object of desire? The incongruent feelings she has about where she's found herself with where she thought she'd be, or like to be?
The masks we put on to step out into public spaces? Melancholy? These are universal, gender fluid, human issues.
We are all vulnerable to them if we dare to be open and honest about the darker places we visit over time."
Freitag asks, "I'm always interested in the
power of an image & the life it takes on. Conceiving it is one thing but what happens after it's done. Once you have breathed life into it, did it bring up feelings that
you hadn't planned on?"
Chaus says, "Yes, most definitely. Making a self portrait, untethered is a very interesting experience. You don't know what you're getting straight away. Some of the images I make frighten me, as I am summoning up some dark places and expressions; I am often surprised at the intensity of the expression, but happy with it just the same."
Additional review by curator Douglas Stockdale: "Regarding the photograph by Jo Ann Chaus; An intriguing portrait that raises more than enough questions; why the down-turned mouth and sad appearing expression? As a self-portrait, what condition is she trying to inform us of? Is this photograph meant to provide visual clues as to a specific personal narrative? The forward gaze of the subject appears stoic and intense. Why a festive appearing formal hat with veil worn in contradiction to subject's casual worn and semi-concealing clothing appearance?
The combination of these conflicting elements creates a challenging photograph to understand, which draws the viewer in to want to know more.
Best regards,
Douglas Stockdale
www.douglastockdale.com
MORE ABOUT JO ANN CHAUS:
Jo Ann Chaus says, "In this body of work I stand before the camera as a female character inspired by personal and collective memories; in each scene, the subject seems to be in some state of conflict. The props and garments belonged to women I have known, or might have known, creating a metaphorical bridge between them and me, past and present.
The performances give me license to express the struggles, the searching and the heaviness that comes with being an adult, a wife, a mother, a woman. Assembling the costumes and the "act" of dressing up connects to the child within, unburdened, with complete freedom to play, imagine and create."
Jo Ann is from and based in the New York area, with a background in the fashion industry and a passion for making color images that are layered, provocative, ambiguous and psychological in nature. She has self published her first monograph, Sweetie & Hansom, a seven year project about the relationship within and between her family of origin, the sudden death of her younger brother who suffered with addiction, the effect of the loss on the family, and the confessions of secrets long suppressed.
Her follow up body largely of work of self portraits, soon to be published
as The Other Side of Hazel, looks at her relationship with herself, the girl/child/adult, wife, mother and woman. She is an alumni of two one-year programs at ICP, 2013 and 2017.
CAREER HIGHLIGHTS:
Acceptance and attendance at two juried portfolio reviews, Center Santa Fe, 2016 and CLICK!, 2018.
Jurors Choice at SXSE portfolio call for entry.
Nine images in the Personal Project at the Darkroom Gallery, Burlington VT.
Lucie 2017 Honorable Mention, catalog/book category.
www.joannchaus.com
"Slip' by Jo Ann Chaus didn't immediately jump out at me but something called to me and I came back to the image. There was something disturbing about the image and being that this process of choosing is so subjective I let it flow over me.
The longer I looked at the image the more I saw. There is sadness in this self-portrait...and defeat. The disturbing part is what seems like a concession of defeat. Perhaps a giving-up.
The slip has fallen off of the subject's shoulder and it's as if that action is fine with the subject. The face is expressionless, perhaps a mask for what is really happening inside.
The subject seems androgynous. There is an uncertainty of gender and I became further interested in the story.
The side view implies a breast with the suntan lines highlighting the covered area. Is this subject transgender? Is this subject trapped in a body that doesn't fit them? Are there struggle issues of conforming with standards of accepted forms of female beauty? There is alot going on here. The hat with feathers going every which way; a metaphor for doing the right thing, appearing the right way?
What about the pink trees in the background? In the subject's bird-like hat, what tree do they fly to? The subject stands; isolated, separate from the tree. There is lonliness though birds of a feather flock together. The choice to be separate from the flock, turning sideways, perhaps no one will notice?
A fascinating image Jo Ann!
I found that the more I viewed this image the more I wanted to know. The title 'Slip' seems to say a lot metaphorically as well as literally. I can easily create my own story in looking at the image. Can you tell me a little bit about the story you wanted to tell?"
Jo Ann Chaus says, "
This image, Slip, is from a larger body of work, predominantly self portraits, where I assume the role of either a version of myself or a persona I've conjured up when I stepped into the costume and setting. I am expressing an unsettled state this woman's found herself in, either before or after an event. It is unclear, purposely; it is open to interpretation.
Am I talking about a woman as an object of desire? The incongruent feelings she has about where she's found herself with where she thought she'd be, or like to be?
The masks we put on to step out into public spaces? Melancholy? These are universal, gender fluid, human issues.
We are all vulnerable to them if we dare to be open and honest about the darker places we visit over time."
Freitag asks, "I'm always interested in the
power of an image & the life it takes on. Conceiving it is one thing but what happens after it's done. Once you have breathed life into it, did it bring up feelings that
you hadn't planned on?"
Chaus says, "Yes, most definitely. Making a self portrait, untethered is a very interesting experience. You don't know what you're getting straight away. Some of the images I make frighten me, as I am summoning up some dark places and expressions; I am often surprised at the intensity of the expression, but happy with it just the same."
Additional review by curator Douglas Stockdale: "Regarding the photograph by Jo Ann Chaus; An intriguing portrait that raises more than enough questions; why the down-turned mouth and sad appearing expression? As a self-portrait, what condition is she trying to inform us of? Is this photograph meant to provide visual clues as to a specific personal narrative? The forward gaze of the subject appears stoic and intense. Why a festive appearing formal hat with veil worn in contradiction to subject's casual worn and semi-concealing clothing appearance?
The combination of these conflicting elements creates a challenging photograph to understand, which draws the viewer in to want to know more.
Best regards,
Douglas Stockdale
www.douglastockdale.com
MORE ABOUT JO ANN CHAUS:
Jo Ann Chaus says, "In this body of work I stand before the camera as a female character inspired by personal and collective memories; in each scene, the subject seems to be in some state of conflict. The props and garments belonged to women I have known, or might have known, creating a metaphorical bridge between them and me, past and present.
The performances give me license to express the struggles, the searching and the heaviness that comes with being an adult, a wife, a mother, a woman. Assembling the costumes and the "act" of dressing up connects to the child within, unburdened, with complete freedom to play, imagine and create."
Jo Ann is from and based in the New York area, with a background in the fashion industry and a passion for making color images that are layered, provocative, ambiguous and psychological in nature. She has self published her first monograph, Sweetie & Hansom, a seven year project about the relationship within and between her family of origin, the sudden death of her younger brother who suffered with addiction, the effect of the loss on the family, and the confessions of secrets long suppressed.
Her follow up body largely of work of self portraits, soon to be published
as The Other Side of Hazel, looks at her relationship with herself, the girl/child/adult, wife, mother and woman. She is an alumni of two one-year programs at ICP, 2013 and 2017.
CAREER HIGHLIGHTS:
Acceptance and attendance at two juried portfolio reviews, Center Santa Fe, 2016 and CLICK!, 2018.
Jurors Choice at SXSE portfolio call for entry.
Nine images in the Personal Project at the Darkroom Gallery, Burlington VT.
Lucie 2017 Honorable Mention, catalog/book category.
www.joannchaus.com
PARTY DRESS by Jo Ann Chaus
BEST SERIES
(Click on image for larger view)
BEST SERIES
(Click on image for larger view)
QUEEN by Jo Ann Chaus
BEST SERIES
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BEST SERIES
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BUST by Kathryn Reichert
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Kathryn Reichert says, "I have always been a classic over-thinker and quite introverted- a seemingly cruel combination but one that I think is not uncommon. I would lie awake at night, categorizing and compartmentalizing everything that had happened during the day, finding comfort in the analysis of things that I would not speak to others about.
These things carried into my dreams, making them often vivid and strange, a swirling mix of memory and things that had not really happened.
As I got older, life presented more serious obstacles, abstract in nature and without any defined solutions- they were difficult for my analytical mind to process. My thoughts turned from analysis to narrative, constructing elaborate stories to fill the void that simply not knowing left me with.
These stories were, at first, a comfort, something I could control. But while I initially enjoyed the freedom of being left to my thoughts, this gradually changed as these obstacles became more and more complex.
I found myself wrestling to keep a hold on my conscious thoughts during the day, as well. I would often involuntarily slip away, becoming lost in my daydreams for long periods of time before even realizing I had been gone.
The nature of my dreams began to change. Though I still lie awake at night, my thoughts circling the real and imagined, I resisted sleep for the terrifying forms that these thoughts had begun to take in my dreams.
Over the course of several years locked in this struggle, I found myself increasingly stuck in the place between asleep and awake, never really sure which side I was on, seeing impossible things that seemed impossibly real. During the day I would try to carry on conversations that had never started and look for things that had never been there. At night, I wondered what was real.
This series of long exposure self-portraits act as a conduit of expression for the subconscious mind. The subconscious guides the nature of my movements in front of the camera, forming a portrait of the woman who exists at the crossroads of what is at once both real and imagined, who is more real to me than the analytical representation of my mere face as it is seen by the outside world. These images represent stories and themes of identity, fear and strength that present themselves while hypnagogic."
Kathryn Reichert was born and raised in New Jersey. Her restlessness and love of adventure kept her traveling along the eastern seaboard whenever possible and she found she enjoyed photographing all of the moments along the way.
She was stationed in Alaska as a soldier in the US Army for a few years and loved it there so much that she has remained since.
She returned to school in 2015 to pursue bachelors degrees in both business and the arts at the University of Alaska Fairbanks. Her current projects utilize forced perspective and manipulation as a means of exploring imaginary places and "what-if" scenarios. She mainly shoots digital imagery but enjoys incorporating film and alternative processes into her workflow.
CAREER HIGHLIGHTS:
"Transformations." PA Center for Photography, Doylestown, PA
"64th Parallel." Fairbanks Arts Association, Bear Gallery, Fairbanks, AK
"Metamorphosis." Darkroom Gallery, Essex Junction, VT
"Rarefied Light." Alaska Photographic Center, statewide Alaska: International Gallery of Contemporary Art: Anchorage, Bear Gallery: Fairbanks, Kenai/Soldotna
"CorpoRealities." PH21 Gallery, Budapest, Hungary
www.kathrynreichert.com
These things carried into my dreams, making them often vivid and strange, a swirling mix of memory and things that had not really happened.
As I got older, life presented more serious obstacles, abstract in nature and without any defined solutions- they were difficult for my analytical mind to process. My thoughts turned from analysis to narrative, constructing elaborate stories to fill the void that simply not knowing left me with.
These stories were, at first, a comfort, something I could control. But while I initially enjoyed the freedom of being left to my thoughts, this gradually changed as these obstacles became more and more complex.
I found myself wrestling to keep a hold on my conscious thoughts during the day, as well. I would often involuntarily slip away, becoming lost in my daydreams for long periods of time before even realizing I had been gone.
The nature of my dreams began to change. Though I still lie awake at night, my thoughts circling the real and imagined, I resisted sleep for the terrifying forms that these thoughts had begun to take in my dreams.
Over the course of several years locked in this struggle, I found myself increasingly stuck in the place between asleep and awake, never really sure which side I was on, seeing impossible things that seemed impossibly real. During the day I would try to carry on conversations that had never started and look for things that had never been there. At night, I wondered what was real.
This series of long exposure self-portraits act as a conduit of expression for the subconscious mind. The subconscious guides the nature of my movements in front of the camera, forming a portrait of the woman who exists at the crossroads of what is at once both real and imagined, who is more real to me than the analytical representation of my mere face as it is seen by the outside world. These images represent stories and themes of identity, fear and strength that present themselves while hypnagogic."
Kathryn Reichert was born and raised in New Jersey. Her restlessness and love of adventure kept her traveling along the eastern seaboard whenever possible and she found she enjoyed photographing all of the moments along the way.
She was stationed in Alaska as a soldier in the US Army for a few years and loved it there so much that she has remained since.
She returned to school in 2015 to pursue bachelors degrees in both business and the arts at the University of Alaska Fairbanks. Her current projects utilize forced perspective and manipulation as a means of exploring imaginary places and "what-if" scenarios. She mainly shoots digital imagery but enjoys incorporating film and alternative processes into her workflow.
CAREER HIGHLIGHTS:
"Transformations." PA Center for Photography, Doylestown, PA
"64th Parallel." Fairbanks Arts Association, Bear Gallery, Fairbanks, AK
"Metamorphosis." Darkroom Gallery, Essex Junction, VT
"Rarefied Light." Alaska Photographic Center, statewide Alaska: International Gallery of Contemporary Art: Anchorage, Bear Gallery: Fairbanks, Kenai/Soldotna
"CorpoRealities." PH21 Gallery, Budapest, Hungary
www.kathrynreichert.com
INTERRUPTION II by Kathryn Reichert
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(Click on image for larger view)
SHIUBHLAINN LEAT by Kathryn Reichert
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REFLECTION by Kelli Pennington
THIRD PLACE
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Kelli Pennington says, "Liminal explores the seasonal passing of time and aging.
A carefully crafted view of an examined life, as two peoples lives merge together and as a family grows apart over time.
My work plays with the notions of perception and perspective and the belief that as one frames a photograph, so too can they frame their own relationship to their existence.
My process is defined by the pursuit of the meaningful convergence where light, form, and memory become a singular entity. In these images, I document from one daily routine to the next. Sometimes playing a role for the camera allows me to feel outside of myself. Other times it forces me to feel my skin tautly strung over my bones. I see myself in my mind's eye and feel fragile and human. That vulnerability is as thrilling as it is terrifying."
Kelli Pennington is a photographer, educator and curator living in Portland, Oregon. She earned her MFA from Syracuse University in 2010. A member of Small Talk Collective. Formed in Portland, Oregon in 2015, Small Talk is comprised of seven women, who explore the nature of what it means to be a visual storyteller.
THIRD PLACE
(Click on image for larger view)
Kelli Pennington says, "Liminal explores the seasonal passing of time and aging.
A carefully crafted view of an examined life, as two peoples lives merge together and as a family grows apart over time.
My work plays with the notions of perception and perspective and the belief that as one frames a photograph, so too can they frame their own relationship to their existence.
My process is defined by the pursuit of the meaningful convergence where light, form, and memory become a singular entity. In these images, I document from one daily routine to the next. Sometimes playing a role for the camera allows me to feel outside of myself. Other times it forces me to feel my skin tautly strung over my bones. I see myself in my mind's eye and feel fragile and human. That vulnerability is as thrilling as it is terrifying."
Kelli Pennington is a photographer, educator and curator living in Portland, Oregon. She earned her MFA from Syracuse University in 2010. A member of Small Talk Collective. Formed in Portland, Oregon in 2015, Small Talk is comprised of seven women, who explore the nature of what it means to be a visual storyteller.
INTIMACY by Kelli Pennington
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SELF PORTRAIT - WAITING by Kelli Pennington
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2 NOT by Kristina Shook
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Kristina Shook says, "I am a performance artist and writer, of multi-racial identity and a graduate of Sarah Lawrence College on full-scholarship with a Masters from the American Film Institute.
My first performance art series was completed a month ago, Public Voices. One-of-a-kind. “26 X 30”.
Public Voices evolved from conversations and encounters I overheard during the seven years that I lived in three cities, working at various short-term jobs and taking public transportation. On buses and trains, I heard people saying the most painful, funniest and strangest things. Often their screams of rage and confessions resonated with me because of my own confusion, doubt, and sense of real failure.
I began writing down what I overheard to stop myself from dropping into a well of depression and to help me keep moving. As I collected these conversations and encounters, I realized that maybe, just maybe, I was in the right place at the right time as an artist and human being.
My performances are on YouTube (shookperformances) and Instagram (shookperformances).
Fifteen images are features on the French site: The Eye Of Photography.
kshook007@aol.com
www.shookperformances.com
(Click on image for larger view)
Kristina Shook says, "I am a performance artist and writer, of multi-racial identity and a graduate of Sarah Lawrence College on full-scholarship with a Masters from the American Film Institute.
My first performance art series was completed a month ago, Public Voices. One-of-a-kind. “26 X 30”.
Public Voices evolved from conversations and encounters I overheard during the seven years that I lived in three cities, working at various short-term jobs and taking public transportation. On buses and trains, I heard people saying the most painful, funniest and strangest things. Often their screams of rage and confessions resonated with me because of my own confusion, doubt, and sense of real failure.
I began writing down what I overheard to stop myself from dropping into a well of depression and to help me keep moving. As I collected these conversations and encounters, I realized that maybe, just maybe, I was in the right place at the right time as an artist and human being.
My performances are on YouTube (shookperformances) and Instagram (shookperformances).
Fifteen images are features on the French site: The Eye Of Photography.
kshook007@aol.com
www.shookperformances.com
3 FEMALE by Kristina Shook
(Click on image for larger view)
(Click on image for larger view)
5 WHO by Kristina Shook
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SAMBECK SIREN by Natalie Van Sambeck
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Natalie van Sambeck says of her series, 'Coming Home', "Home is very much a state of mind.
Whether we define this in terms of people, places or inanimate objects, it makes no difference. Home is our sanctuary.
A place where we can go to for comfort, peace, or even solitude. We are greeted by our self every time we connect to home and it is here that we begin to get a sense for who we truly are. In this sense home and self become intrinsically intertwined; never fully being constant.
My home is a sacred place nestled in the forest just off a slightly beaten path behind my family’s house.
This place is where I spent most of my childhood days hunting for frogs or crayfish, building forts in trees, stomping on skunk cabbage, or looking up and counting all the stars when night began to fall. I’ve shed some tears and revealed some of my deepest secrets with these woods. It holds my hopes, my dreams, and even my fears. In essence, my self is imprinted within this place; a sacred space I call home.
Each print is hand made using a 19th century photographic printing method called gum bichromate. This process requires multiples layers that are all hand coated to create a full colored image that is a one-of-a-kind handcrafted piece of art.
Neither grounded in reality or fantasy, the soft desaturated color scheme and painterly aesthetics work together to enhance a dreamlike state of being that reveals the pathway for Coming Home.
More explanation about the images
Coming Home combines self-portraiture within the landscape to express those intangible aspects of home and identity that define who we are. While my images imbue emotions and experiences associated with a journey of self discovery, this fine art conceptual self-portraiture series explores a deeper meaning of home as a vehicle for understanding that the self we seek always lies within.
By looking at ourselves reflected in the natural world, we both know and are known. Through a connection to nature, we understand our very nature. Through our own journey of self discovery, we reveal the pathway for Coming Home."
Natalie van Sambeck specializes in one-of-a-kind antiquarian pigment prints that reveal the artist’s hand in each piece of artwork.
Her work is tailored to those who desire unique imagery that invoke a deeper exploration into the inner workings of the subconscious mind and our perception of reality.
As an artist, Natalie van Sambeck is inspired by the natural world and mankind’s relationship to nature. Influenced by the teachings of Joseph Campbell and Carl Jung, van Sambeck offers a unique perspective that challenges conventional ways of thinking about the broader issues surrounding home, identity, the human condition, and our relationship to nature. With an emphasis in alternative processes and self portraiture, van Sambeck creates unique handcrafted works of art that offers her distinctive vision.
CAREER HIGHLIGHTS:
Exhibitions
2017 “Intersections,” 625 Sutter Gallery, San Franscico, CA [Group Exhibition]
2016 Annual Members’ Show, PhotoSynthesis, East Hartford, CT
2015 Annual Members’ Show, PhotoSynthesis, East Hartford, CT
Awards
2017 Finalist, Photographer’s Forum, Best of College & High School
2016 Finalist, Photographer’s Forum, Best of College & High School
2015 Finalist, Photographer’s Forum, Best of Photography
Finalist, Photographer’s Forum, Best of College & High School
2014 Finalist, Photographer’s Forum, Best of College & High School
Publications
2017 “The Golden Section VS The Rule of Thirds,” AAU Lens, May 5, 2017
http://www.aaulens.com/blog/2017/1/25/the-golden-section-vs-the-rule-of-thirds?rq=natalie%20van%20Sambeck
“The Artist’s Voice: Speaking Our Own Truth,” AAU Lens, March 17, 2017
http://www.aaulens.com/blog/2017/1/25/the-artists-voice-speaking-our-own-truth?rq=natalie%20van%20Sambeck
“Lumen Printing With a Twist,” AAU Lens, February 3, 2017.
http://www.aaulens.com/blog/2017/1/25/lumen-printing-with-a-twist?rq=natalie%20van%20Sambeck
Van Sambeck says, "Recently, my work was also selected for the 2018 Alternative Processes Show at the Soho Photo Gallery that is scheduled to open November 6th of this year."
https://www.nvansambeck.art
(Click on image for larger view)
Natalie van Sambeck says of her series, 'Coming Home', "Home is very much a state of mind.
Whether we define this in terms of people, places or inanimate objects, it makes no difference. Home is our sanctuary.
A place where we can go to for comfort, peace, or even solitude. We are greeted by our self every time we connect to home and it is here that we begin to get a sense for who we truly are. In this sense home and self become intrinsically intertwined; never fully being constant.
My home is a sacred place nestled in the forest just off a slightly beaten path behind my family’s house.
This place is where I spent most of my childhood days hunting for frogs or crayfish, building forts in trees, stomping on skunk cabbage, or looking up and counting all the stars when night began to fall. I’ve shed some tears and revealed some of my deepest secrets with these woods. It holds my hopes, my dreams, and even my fears. In essence, my self is imprinted within this place; a sacred space I call home.
Each print is hand made using a 19th century photographic printing method called gum bichromate. This process requires multiples layers that are all hand coated to create a full colored image that is a one-of-a-kind handcrafted piece of art.
Neither grounded in reality or fantasy, the soft desaturated color scheme and painterly aesthetics work together to enhance a dreamlike state of being that reveals the pathway for Coming Home.
More explanation about the images
Coming Home combines self-portraiture within the landscape to express those intangible aspects of home and identity that define who we are. While my images imbue emotions and experiences associated with a journey of self discovery, this fine art conceptual self-portraiture series explores a deeper meaning of home as a vehicle for understanding that the self we seek always lies within.
By looking at ourselves reflected in the natural world, we both know and are known. Through a connection to nature, we understand our very nature. Through our own journey of self discovery, we reveal the pathway for Coming Home."
Natalie van Sambeck specializes in one-of-a-kind antiquarian pigment prints that reveal the artist’s hand in each piece of artwork.
Her work is tailored to those who desire unique imagery that invoke a deeper exploration into the inner workings of the subconscious mind and our perception of reality.
As an artist, Natalie van Sambeck is inspired by the natural world and mankind’s relationship to nature. Influenced by the teachings of Joseph Campbell and Carl Jung, van Sambeck offers a unique perspective that challenges conventional ways of thinking about the broader issues surrounding home, identity, the human condition, and our relationship to nature. With an emphasis in alternative processes and self portraiture, van Sambeck creates unique handcrafted works of art that offers her distinctive vision.
CAREER HIGHLIGHTS:
Exhibitions
2017 “Intersections,” 625 Sutter Gallery, San Franscico, CA [Group Exhibition]
2016 Annual Members’ Show, PhotoSynthesis, East Hartford, CT
2015 Annual Members’ Show, PhotoSynthesis, East Hartford, CT
Awards
2017 Finalist, Photographer’s Forum, Best of College & High School
2016 Finalist, Photographer’s Forum, Best of College & High School
2015 Finalist, Photographer’s Forum, Best of Photography
Finalist, Photographer’s Forum, Best of College & High School
2014 Finalist, Photographer’s Forum, Best of College & High School
Publications
2017 “The Golden Section VS The Rule of Thirds,” AAU Lens, May 5, 2017
http://www.aaulens.com/blog/2017/1/25/the-golden-section-vs-the-rule-of-thirds?rq=natalie%20van%20Sambeck
“The Artist’s Voice: Speaking Our Own Truth,” AAU Lens, March 17, 2017
http://www.aaulens.com/blog/2017/1/25/the-artists-voice-speaking-our-own-truth?rq=natalie%20van%20Sambeck
“Lumen Printing With a Twist,” AAU Lens, February 3, 2017.
http://www.aaulens.com/blog/2017/1/25/lumen-printing-with-a-twist?rq=natalie%20van%20Sambeck
Van Sambeck says, "Recently, my work was also selected for the 2018 Alternative Processes Show at the Soho Photo Gallery that is scheduled to open November 6th of this year."
https://www.nvansambeck.art
CURTAIN CALL by Natalie Van Sambeck
(Click on image for larger view)
(Click on image for larger view)
EVER AFTER by Natalie Van Sambeck
(Click on image for larger view)
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SUN RAYS by Parmelee Cover
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(Click on image for larger view)
Parmalee Cover says, "I am a multi genre artist.
For almost eight decades this has involved writing and visual arts including photography. At eleven, I bought a Baby Brownie and snapped people I didn’t know. I planned on becoming another Margaret Burke White, learning by heart the pictures she took for the LIFE MAGAZINE sent to our door every week.
For me, there has always been a seamless flow between all art forms. It’s natural for me to switch and combine painting and photography, for example. In both mediums I seek dynamics of motion, irony in juxtaposition and an underlying human narrative.
I use the sub-conscious techniques of automatic art to determine the picture. The image comes to me. I don’t come to it. Usually.
My current (DriveByShots) photography is populist - point and shoot from moving vehicles on my 72 dpi iPhone. At thirty miles per hour the image can only intuited. The chosen photo is often revealed in “post production” - secrets of odd coincidence, people, composition and meanings.
CAREER HIGHLIGHTS:
Arts and Media Lecturer, Teacher
Writer, Researcher, Director for PBS and CPB productions including programming for KTEH, KQED.
Photographer, Videographer gigs
Film and Video Production: Numerous art video productions including work for Lynn Hershman-Leeson, Laurie Anderson, and WHO.
GROUP EXHIBITS:
-East West Gallery, San Francisco
-Delexi Gallery, San Francisco
-Focus Gallery, San Francisco
-Syracuse Museum, Syracuse NY
-Hofstra University, NY
-Diego Rivera Gallery, San Francisco
-Stempli Gallery, NYC
-Vancouver School of Art, Vancouver WA
-Art at the Cave Gallery, Vancouver WA
-M.O.C.A, NYC, Permanent Print Media Collection, PLAZM Magazine,
www.mizzpaw.com
Mizzpaw@gmail.com
For almost eight decades this has involved writing and visual arts including photography. At eleven, I bought a Baby Brownie and snapped people I didn’t know. I planned on becoming another Margaret Burke White, learning by heart the pictures she took for the LIFE MAGAZINE sent to our door every week.
For me, there has always been a seamless flow between all art forms. It’s natural for me to switch and combine painting and photography, for example. In both mediums I seek dynamics of motion, irony in juxtaposition and an underlying human narrative.
I use the sub-conscious techniques of automatic art to determine the picture. The image comes to me. I don’t come to it. Usually.
My current (DriveByShots) photography is populist - point and shoot from moving vehicles on my 72 dpi iPhone. At thirty miles per hour the image can only intuited. The chosen photo is often revealed in “post production” - secrets of odd coincidence, people, composition and meanings.
CAREER HIGHLIGHTS:
Arts and Media Lecturer, Teacher
Writer, Researcher, Director for PBS and CPB productions including programming for KTEH, KQED.
Photographer, Videographer gigs
Film and Video Production: Numerous art video productions including work for Lynn Hershman-Leeson, Laurie Anderson, and WHO.
GROUP EXHIBITS:
-East West Gallery, San Francisco
-Delexi Gallery, San Francisco
-Focus Gallery, San Francisco
-Syracuse Museum, Syracuse NY
-Hofstra University, NY
-Diego Rivera Gallery, San Francisco
-Stempli Gallery, NYC
-Vancouver School of Art, Vancouver WA
-Art at the Cave Gallery, Vancouver WA
-M.O.C.A, NYC, Permanent Print Media Collection, PLAZM Magazine,
www.mizzpaw.com
Mizzpaw@gmail.com
ART SPEAKS by Parmalee Cover
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HAIRDO by Parmalee Cover
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SELF PORTRAIT 1 by Robert Richardson
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Robert Richardson says, "I work in both photography and fine art graphics. My ongoing series of self-portraits is a way of bringing them together.
I use the low-res cameras of an inexpensive tablet or smart phone and the unaltered lighting of the room I am in. This creates a casual minimalism, which is the basis for more elaborate and expressive post-production using draw and paint apps on the same tablet or phone.
This graphic “framing” becomes part of the self-portrait, with an emphasis on imagination and creativity. Also, there is the paradox that I am partly hiding, which is itself revealing.
I began as a poet, concrete poet and small press publisher. An interest in typography led to a degree in Communication Design at a London polytechnic. Following a teacher training course, I worked as a lecturer in the further education sector.
During this time I completed a Master’s degree in Education, and subsequently became a Principal Lecture in Communication at De Montfort University in Leicester, England. Since retiring from teaching, I have been a full time artist and writer.
CAREER HIGHLIGHTS:
1980s: Designs published by Leeds Postcards
1989: Represented in Word As Image, the Australian National Gallery, Canberra
1999: Solo exhibition of installations, graphics and photographs, Peterborough Museum and Art Gallery
2007: Solo exhibition of photographs, De Montfort Hall, Leicester
2012: Solo exhibition of photographs, Cumberland Lodge, The Great Park, Windsor
2012: Included in ‘Artists’ Postcards: A Compendium’ (published by Reaktion Books, London)
2014: Solo exhibition of concrete poems and graphics, Kunsthaus Rehau, Germany
2017: Photography print projects represented in the Funzilla photozine festival, Rome
2018: Solo exhibition of photographs, Museu Municipal, Faro, Portugal
2018: Included in ‘Leeds Postcards’ (published by Four Corners Books, London)
www.bobzlenz.com
I use the low-res cameras of an inexpensive tablet or smart phone and the unaltered lighting of the room I am in. This creates a casual minimalism, which is the basis for more elaborate and expressive post-production using draw and paint apps on the same tablet or phone.
This graphic “framing” becomes part of the self-portrait, with an emphasis on imagination and creativity. Also, there is the paradox that I am partly hiding, which is itself revealing.
I began as a poet, concrete poet and small press publisher. An interest in typography led to a degree in Communication Design at a London polytechnic. Following a teacher training course, I worked as a lecturer in the further education sector.
During this time I completed a Master’s degree in Education, and subsequently became a Principal Lecture in Communication at De Montfort University in Leicester, England. Since retiring from teaching, I have been a full time artist and writer.
CAREER HIGHLIGHTS:
1980s: Designs published by Leeds Postcards
1989: Represented in Word As Image, the Australian National Gallery, Canberra
1999: Solo exhibition of installations, graphics and photographs, Peterborough Museum and Art Gallery
2007: Solo exhibition of photographs, De Montfort Hall, Leicester
2012: Solo exhibition of photographs, Cumberland Lodge, The Great Park, Windsor
2012: Included in ‘Artists’ Postcards: A Compendium’ (published by Reaktion Books, London)
2014: Solo exhibition of concrete poems and graphics, Kunsthaus Rehau, Germany
2017: Photography print projects represented in the Funzilla photozine festival, Rome
2018: Solo exhibition of photographs, Museu Municipal, Faro, Portugal
2018: Included in ‘Leeds Postcards’ (published by Four Corners Books, London)
www.bobzlenz.com
SELF PORTRAIT 2 by Robert Richardson
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SELF PORTRAIT 3 by Robert Richardson
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STONE AGE ARTIST by Rohan Dumbre
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Rohan Suresh Dumbre says, "I am Rohan Dumbre practicing artist based in Mumbai (India).
My works I feel like the journey of an everyday man, you can find a very similarity of Mumbai daily life diary. My works always travel within me it revolves around different themes and media not stuck to particular series
Before joining fine Arts I did architecture for 3 years but left it incomplete as I found more liking for painting which now I feel it is not about an urge to become a painter rather understanding and comforts with color and pallete.
Struggling with this disease of paranoid schizophrenia from last 15 years entering in this world of colors is a boon. I experiment with different mediums paintings, photography and performance art.
CAREER HIGHLIGHTS-
S.S.C- 90.13%
H.S.C- 89.50% P.C.B. And 78% Overall
Diploma In Finearts And Crafts [2012]
A.F.A.C. Mumbai {Rachana Sansad}
- Gold Medal In Final Year Diploma[Fine Arts Painting]
Done [A.T.D.] Art Teachers Diploma
At Thane School Of Arts.
EXHIBITIONS- Done around 24 group shows in different Art Galleries in
Mumbai, Delhi, Baroda Coimbatore, Sharjah, New York.
COLLECTIONS- Bombay, Bankok,Chicago,Malayshia,France,Delhi,Banglore
AWARDS-
-Gold Medal’eklavya Puraskar’ Pune 2003
- 2nd Prize For Composition C.K.P.Hall Khar-2007
- 1st Prize For Best Composition At Annual Exhibition
3rd Year-2011 A.F.A.C.
-Prize For Best Composition-Pidilite Finearts Award
-Prize For Best Creative Painting-At Art Society Of India 94th Annual Exhibition
Prafulla Dahanukar And Late Sandhya Jambhulkar
Award-Jan 2012
- Young Achiever Of Year 2012 From Rachana Sansad Finearts College-Mumbai
-Gold Medal At Rang Rachana For Overall Excellance In Fine Arts 2012
-Artists Centre Award For Best Entry-2016
SOLO SHOWS-
- ‘11 Echos’ Juhu Dec.2006
- Syndicate Bank Mulund {West} -2007
- Art Show At ‘Hotel Leela’-Andheri-2011
- Solo Show- ‘Dhobi Ghat’ Jehangir Terrace Art Gallery – Oct 2015
- Nehru Centre Worli- Sept 2016
GROUP SHOWS-
- 2010-Nehru Centre Art Gallery August
- 2011,2013,2014 - Chatak Monsoon Show-Nehru Centre
- 2011- Bajaj Art Gallery-Monsoon Show
- 2011-Bajaj Art Gallery-Pidilite Sponsered Show
-2012,2014 ,2015 ,2016 -Jehangir Art Gallery
-‘Art Society Of India’
- 2012, 2015- Monsoon Show Pradarshak Art Gallery
-2012-Photography Display At Kalaghoda Festival
- 2013-‘Story Of A Creative’ See Me Art Gallery -New York
- 2013-‘Art Takes To Paris’ See Me Art Gallery
- 2013 -‘Art Splash’ By Fourth Wall Group At Pheonix Mall Kurla
-2014- ‘Vino Fest’-Peonix Mall Kurla –Feb
- 2015- Endoscopy Of Mumbai Artists At
Churchgate - Artgate Gallery
- 2016-‘Artists Centre’- Drawings
- 2016- Coomarswamy Art Gallery-Art Spread
- 2016-‘Vantage Point’-Sharjah
- 2017- ‘Art Society Of India’ Annual Show At Jehangir Art Gallery
- 2017-‘Artists Centre’- Drawings And Sketches
- 2017-‘Chatak’ Monsoon Show At Nehrucentre Art Galllery
Latest show- ‘Extending the contemporary’- August 2018
Art Konsalt Gallery’-Delhi
Email - dumbrerohan87@gmail.com https://www.flickr.com/photos/dumbrerohan
My works I feel like the journey of an everyday man, you can find a very similarity of Mumbai daily life diary. My works always travel within me it revolves around different themes and media not stuck to particular series
Before joining fine Arts I did architecture for 3 years but left it incomplete as I found more liking for painting which now I feel it is not about an urge to become a painter rather understanding and comforts with color and pallete.
Struggling with this disease of paranoid schizophrenia from last 15 years entering in this world of colors is a boon. I experiment with different mediums paintings, photography and performance art.
CAREER HIGHLIGHTS-
S.S.C- 90.13%
H.S.C- 89.50% P.C.B. And 78% Overall
Diploma In Finearts And Crafts [2012]
A.F.A.C. Mumbai {Rachana Sansad}
- Gold Medal In Final Year Diploma[Fine Arts Painting]
Done [A.T.D.] Art Teachers Diploma
At Thane School Of Arts.
EXHIBITIONS- Done around 24 group shows in different Art Galleries in
Mumbai, Delhi, Baroda Coimbatore, Sharjah, New York.
COLLECTIONS- Bombay, Bankok,Chicago,Malayshia,France,Delhi,Banglore
AWARDS-
-Gold Medal’eklavya Puraskar’ Pune 2003
- 2nd Prize For Composition C.K.P.Hall Khar-2007
- 1st Prize For Best Composition At Annual Exhibition
3rd Year-2011 A.F.A.C.
-Prize For Best Composition-Pidilite Finearts Award
-Prize For Best Creative Painting-At Art Society Of India 94th Annual Exhibition
Prafulla Dahanukar And Late Sandhya Jambhulkar
Award-Jan 2012
- Young Achiever Of Year 2012 From Rachana Sansad Finearts College-Mumbai
-Gold Medal At Rang Rachana For Overall Excellance In Fine Arts 2012
-Artists Centre Award For Best Entry-2016
SOLO SHOWS-
- ‘11 Echos’ Juhu Dec.2006
- Syndicate Bank Mulund {West} -2007
- Art Show At ‘Hotel Leela’-Andheri-2011
- Solo Show- ‘Dhobi Ghat’ Jehangir Terrace Art Gallery – Oct 2015
- Nehru Centre Worli- Sept 2016
GROUP SHOWS-
- 2010-Nehru Centre Art Gallery August
- 2011,2013,2014 - Chatak Monsoon Show-Nehru Centre
- 2011- Bajaj Art Gallery-Monsoon Show
- 2011-Bajaj Art Gallery-Pidilite Sponsered Show
-2012,2014 ,2015 ,2016 -Jehangir Art Gallery
-‘Art Society Of India’
- 2012, 2015- Monsoon Show Pradarshak Art Gallery
-2012-Photography Display At Kalaghoda Festival
- 2013-‘Story Of A Creative’ See Me Art Gallery -New York
- 2013-‘Art Takes To Paris’ See Me Art Gallery
- 2013 -‘Art Splash’ By Fourth Wall Group At Pheonix Mall Kurla
-2014- ‘Vino Fest’-Peonix Mall Kurla –Feb
- 2015- Endoscopy Of Mumbai Artists At
Churchgate - Artgate Gallery
- 2016-‘Artists Centre’- Drawings
- 2016- Coomarswamy Art Gallery-Art Spread
- 2016-‘Vantage Point’-Sharjah
- 2017- ‘Art Society Of India’ Annual Show At Jehangir Art Gallery
- 2017-‘Artists Centre’- Drawings And Sketches
- 2017-‘Chatak’ Monsoon Show At Nehrucentre Art Galllery
Latest show- ‘Extending the contemporary’- August 2018
Art Konsalt Gallery’-Delhi
Email - dumbrerohan87@gmail.com https://www.flickr.com/photos/dumbrerohan
BODY OF PROTEST by Rohan Dumbre
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LAST SMOKE by Rohan Dumbre
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WHEN I FEEL UNSAFE - 1 by Roxanne Bull
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"Being an artist means forever healing your own wounds at the same time endlessly exposing them.”
Annette Messenger.
Roxanne Bull says, "After working on my Women Warriors project for several years, and suffering with the growing #metoo movement, I recently realized that I was addressing every other woman’s pain but my own.
One day while driving up the mountain to Foresthill, where I live, I noticed this incredible green rock formation, and had to take a photograph.
Later when I looked at the image I just kew there was a person in there and that person was me. This led to an exploration of the walls and barriers that I use these protect myself. We all put up walls when we’re unsure or afraid. I realized that my walls can be as hard as sheer granite or as fragile as a Dandelion puff.
My process entails photographing myself and then heading outside to find the best protection that nature has to offer. I find that Mother Nature also has many ways of protecting herself from predators and malevolence with her own barriers.
Protective Layers is an attempt to address the vulnerability and the techniques we use to guard ourselves from emotional pain; especially in these incredibly chaotic times."
As the daughter of a photographer, Roxanne’s initial exposure to art came early. At the age of elven her father gave her a Brownie Bullseye camera purchased from a thrift shop. Her father taught her to see beauty in everything.
Roxanne has always been an abstract thinker. A wicked spiral in a linear world.Fitting in was just not an option for me.
While studying interior design at UCLA, she was inspired by artists such as Botticelli, Caravaggio, Picasso and Klimt. She endeavors to draw upon these influences in her current work.
She spent many years working in the corporate world. However, passion does not equal career, so she decided to do something meaningful and expressive. Moving to a small house in the forest, she returned to school to study photography. Photography was a perfect fit, and a way for her to share her thoughts with the world.
She has since been featured in Riddley Gallery, Viewpoint Gallery, the California State Fair, Gallery of Fine Arts, LA Artcore, Viewpoint Photographic Art Center, Blue Line Arts Gallery, Sacramento Fine Arts and the Draft Classics.
Her solo shows include Women Warriors Throughout History, The Spirit of Women Warriors which was featured at the Viewpoint Photographic Gallery in Sacramento and featured women who fought and ruled throughout history, which is currently planned as a book of photography.
CV (Parts):
JURIED SHOWS
2015 – Riddley Gallery, Rocklin, CA
2015– Twelve, Small Wonders, Viewpoint Gallery, Sacramento
2016 – California State Fair, Fine Arts Professional Division
2017 — Viewpoint Gallery
2017 – Foresthill Gallery of Fine Arts
2018 — Viewpoint Gallery
2018 — LA Art Core
2018 — The Arts Guild of Sonoma
2018— Sacramento Fine Arts Gallery
2018— Grass Valley Draft Classics
2018 — Blue Line Art Gallery
SOLO SHOWS:
2015 - Women Warriors Through History. A Photo Art Exhibit by Roxanne Willen Bull. Ho Jun Gallery. 5100 Rocklin Road Rocklin Ca.95677
2016 – The Sprit of Women Warriors at The Viewpoint Photographic Art Center. J St Suite 101, Sacramento, CA 95811 – An Exhibit of Women who Fought and Ruled Through History
2018 - The Spirit of Women Warriors, BlueLine Art Galley. 405 Vernon Street Roseville, Ca. 95678
PUBLICATIONS AND PRESS:
2015 – Placer Herald, May 28. ‘Women Warriors’ Get Their Day in Rocklin Exhibit.
2014 – Placer Herald, December 11. Sierra Students Protest Ferguson Decision. New York Choking Death. Photograph by Roxanne Willen Bull.
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"Being an artist means forever healing your own wounds at the same time endlessly exposing them.”
Annette Messenger.
Roxanne Bull says, "After working on my Women Warriors project for several years, and suffering with the growing #metoo movement, I recently realized that I was addressing every other woman’s pain but my own.
One day while driving up the mountain to Foresthill, where I live, I noticed this incredible green rock formation, and had to take a photograph.
Later when I looked at the image I just kew there was a person in there and that person was me. This led to an exploration of the walls and barriers that I use these protect myself. We all put up walls when we’re unsure or afraid. I realized that my walls can be as hard as sheer granite or as fragile as a Dandelion puff.
My process entails photographing myself and then heading outside to find the best protection that nature has to offer. I find that Mother Nature also has many ways of protecting herself from predators and malevolence with her own barriers.
Protective Layers is an attempt to address the vulnerability and the techniques we use to guard ourselves from emotional pain; especially in these incredibly chaotic times."
As the daughter of a photographer, Roxanne’s initial exposure to art came early. At the age of elven her father gave her a Brownie Bullseye camera purchased from a thrift shop. Her father taught her to see beauty in everything.
Roxanne has always been an abstract thinker. A wicked spiral in a linear world.Fitting in was just not an option for me.
While studying interior design at UCLA, she was inspired by artists such as Botticelli, Caravaggio, Picasso and Klimt. She endeavors to draw upon these influences in her current work.
She spent many years working in the corporate world. However, passion does not equal career, so she decided to do something meaningful and expressive. Moving to a small house in the forest, she returned to school to study photography. Photography was a perfect fit, and a way for her to share her thoughts with the world.
She has since been featured in Riddley Gallery, Viewpoint Gallery, the California State Fair, Gallery of Fine Arts, LA Artcore, Viewpoint Photographic Art Center, Blue Line Arts Gallery, Sacramento Fine Arts and the Draft Classics.
Her solo shows include Women Warriors Throughout History, The Spirit of Women Warriors which was featured at the Viewpoint Photographic Gallery in Sacramento and featured women who fought and ruled throughout history, which is currently planned as a book of photography.
CV (Parts):
JURIED SHOWS
2015 – Riddley Gallery, Rocklin, CA
2015– Twelve, Small Wonders, Viewpoint Gallery, Sacramento
2016 – California State Fair, Fine Arts Professional Division
2017 — Viewpoint Gallery
2017 – Foresthill Gallery of Fine Arts
2018 — Viewpoint Gallery
2018 — LA Art Core
2018 — The Arts Guild of Sonoma
2018— Sacramento Fine Arts Gallery
2018— Grass Valley Draft Classics
2018 — Blue Line Art Gallery
SOLO SHOWS:
2015 - Women Warriors Through History. A Photo Art Exhibit by Roxanne Willen Bull. Ho Jun Gallery. 5100 Rocklin Road Rocklin Ca.95677
2016 – The Sprit of Women Warriors at The Viewpoint Photographic Art Center. J St Suite 101, Sacramento, CA 95811 – An Exhibit of Women who Fought and Ruled Through History
2018 - The Spirit of Women Warriors, BlueLine Art Galley. 405 Vernon Street Roseville, Ca. 95678
PUBLICATIONS AND PRESS:
2015 – Placer Herald, May 28. ‘Women Warriors’ Get Their Day in Rocklin Exhibit.
2014 – Placer Herald, December 11. Sierra Students Protest Ferguson Decision. New York Choking Death. Photograph by Roxanne Willen Bull.
SOMETIMES I JUST CAN'T MOVE by Roxanne Bull
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WHEN PEOPLE TELL ME I TALK TOO MUCH by Roxanne Bull
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SHALLOW THAN HALLOW by Sarah Elise Abramson
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Sarah Elise Abramson says, "Since as early as I can remember I’ve always had very vivid dreams.
So vivid in fact, that I’ll often mistake things that happen in my dreams for things that happened in reality. I have woken up from a night’s sleep with an entire photoshoot concept floating in my head. Or, on occasion, I’ll wake up and have dreamt up an entire movie or TV series with multiple characters, their back stories, how certain frames should be shot, down to little nuances like having a character say, “laughing, laughing, laughing” instead of actually laughing.
Roughly eight-eight percent of human mental activity is subconscious rather than conscious. This powerful statistic resonated with me long ago and I vowed to always pay attention, and listen to what my subconscious as well as my intuition was telling me.
All of those deeply rooted questions we have about ourselves, the world, and our lives, are lodged within each and every one of us. The problem is, we have become masters at hiding these truths from ourselves.
When I go out shooting by myself or with my models and friends I let my conscious mind take a backseat. That’s how the magic happens.
All my work, every photo I’ve ever taken since age eleven, is an image that exists in that placeless place. The place or space right before you fall asleep, when you’re still slightly awake but not enough to call it consciousness.
This is where my images reside and will continue to live. My work is my escape. The world is harsh, ugly, cruel, and heartbreaking, but with my photos, I have created an alternative world I and my viewers can escape to. It’s either this or completely go insane. I choose this. Not to mention, the only time I feel like I belong, like I'm doing exactly what it is that I'm supposed to be doing this time around, on this planet, is when I'm shooting. It's when I'm the most honest and the most vulnerable.
I can feel myself glowing or emanating with some color light and the universe pushing and pulling me and all the elements around me in a very intricate and specific way. It's the reason I believe in magic. It's the reason I believe in something bigger and greater than us."
Sarah Elise Abramson resides at the intersection of poetic and unsettling, creepy and beautiful, subversive and classically romantic.
Her work is ethereal, demonstrating an inquisitive and appreciative love for nature, eccentric characters, and discarded objects that serve as windows into dreamlike visions of other people’s lives.
She finds these abandoned objects in alleyways, estate sales, in the phenomena of the physical world collectively, and incorporates them extemporaneously into the fantasy she’s creating and capturing that day. Abramson often assigns meaning to the alchemical productions of the human psyche through the mode of photography, offering us a view into a normally intangible and magical realm that tends to get lost in our mundane affairs.
Young and passionately productive, Abramson writes a monthly column piece for American Art Collector magazine.
She has curated numerous shows in Los Angeles while studying her craft as a photographer under the likes of Susan Worsham and currently, David LaChapelle.
She is writing the script and screenplay for the short film she is to direct in 2019 about true life events that took place several years ago, changing the course of her life entierly.
After a three year residency at Angel Gates Cultural center, her accomplishments have been featured in multiple publications including the Huffington Post, Hyperallergic, Juxtapoz, Ignant, Beautiful Bizarre magazine, Coachella magazine, and The Photographic Journal.
She has exhibited at The Louvre, SOMArts, The Vex, The Egan Gallery, Gregorio Escalante Gallery, Coagula Curatorial, BG Gallery, The Arsenal of Venice in Italy, Jamie Brooks Gallery, and The Eventi Hotel Big Screen Plaza in New York City, to name a few.
Abramson is additionally the creator and editor-in-chief of Slow Toast, an annual independent art publication. Abramson recently moved into her new studio space at Think Tank Gallery and is loving it.
www.sarahelisephotography.com
www.sarahelisephoto@gmail.com
IG: @slow_toast
Flickr: https://www.flickr.com/photos/105218484@N05/
Facebook:https://www.facebook.com/Sarah.Elise.Abramson
So vivid in fact, that I’ll often mistake things that happen in my dreams for things that happened in reality. I have woken up from a night’s sleep with an entire photoshoot concept floating in my head. Or, on occasion, I’ll wake up and have dreamt up an entire movie or TV series with multiple characters, their back stories, how certain frames should be shot, down to little nuances like having a character say, “laughing, laughing, laughing” instead of actually laughing.
Roughly eight-eight percent of human mental activity is subconscious rather than conscious. This powerful statistic resonated with me long ago and I vowed to always pay attention, and listen to what my subconscious as well as my intuition was telling me.
All of those deeply rooted questions we have about ourselves, the world, and our lives, are lodged within each and every one of us. The problem is, we have become masters at hiding these truths from ourselves.
When I go out shooting by myself or with my models and friends I let my conscious mind take a backseat. That’s how the magic happens.
All my work, every photo I’ve ever taken since age eleven, is an image that exists in that placeless place. The place or space right before you fall asleep, when you’re still slightly awake but not enough to call it consciousness.
This is where my images reside and will continue to live. My work is my escape. The world is harsh, ugly, cruel, and heartbreaking, but with my photos, I have created an alternative world I and my viewers can escape to. It’s either this or completely go insane. I choose this. Not to mention, the only time I feel like I belong, like I'm doing exactly what it is that I'm supposed to be doing this time around, on this planet, is when I'm shooting. It's when I'm the most honest and the most vulnerable.
I can feel myself glowing or emanating with some color light and the universe pushing and pulling me and all the elements around me in a very intricate and specific way. It's the reason I believe in magic. It's the reason I believe in something bigger and greater than us."
Sarah Elise Abramson resides at the intersection of poetic and unsettling, creepy and beautiful, subversive and classically romantic.
Her work is ethereal, demonstrating an inquisitive and appreciative love for nature, eccentric characters, and discarded objects that serve as windows into dreamlike visions of other people’s lives.
She finds these abandoned objects in alleyways, estate sales, in the phenomena of the physical world collectively, and incorporates them extemporaneously into the fantasy she’s creating and capturing that day. Abramson often assigns meaning to the alchemical productions of the human psyche through the mode of photography, offering us a view into a normally intangible and magical realm that tends to get lost in our mundane affairs.
Young and passionately productive, Abramson writes a monthly column piece for American Art Collector magazine.
She has curated numerous shows in Los Angeles while studying her craft as a photographer under the likes of Susan Worsham and currently, David LaChapelle.
She is writing the script and screenplay for the short film she is to direct in 2019 about true life events that took place several years ago, changing the course of her life entierly.
After a three year residency at Angel Gates Cultural center, her accomplishments have been featured in multiple publications including the Huffington Post, Hyperallergic, Juxtapoz, Ignant, Beautiful Bizarre magazine, Coachella magazine, and The Photographic Journal.
She has exhibited at The Louvre, SOMArts, The Vex, The Egan Gallery, Gregorio Escalante Gallery, Coagula Curatorial, BG Gallery, The Arsenal of Venice in Italy, Jamie Brooks Gallery, and The Eventi Hotel Big Screen Plaza in New York City, to name a few.
Abramson is additionally the creator and editor-in-chief of Slow Toast, an annual independent art publication. Abramson recently moved into her new studio space at Think Tank Gallery and is loving it.
www.sarahelisephotography.com
www.sarahelisephoto@gmail.com
IG: @slow_toast
Flickr: https://www.flickr.com/photos/105218484@N05/
Facebook:https://www.facebook.com/Sarah.Elise.Abramson
OBLIVIOUS by Sarah Elise Abramson
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PROTECTION CIRCLE by Sarah Elise Abramson
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SARAH 1 by Sarah Lazure
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Sarah Lazure says, "As a woman artist, I create my own places to exist.
My self-portraits are full of emotion, thought, and creative energy and are made to engage the viewer in an intimate moment.
I work by transforming thoughts and emotions into photographs and then alter the image. The creative process is an intuitive call and response between me and the materials. I continue to manipulate the surface until the discourse is complete and the piece is balanced.
I empower my gaze and the intimacy of prolonged eye contact to portray the strength of my vulnerability and my desire to connect, acknowledge, and interact with my viewer. My gaze is commanding and requests your return gaze. There is no question that I am looking at you."
Sarah Lazure is a photo-based artist living in Greenville, North Carolina. As an artist who likes to get her hands dirty, Sarah uses a variety of processes to make her work. She uses a combination of traditional darkroom printing with digital manipulations and image transfer processes. She also explores creating imagery with textiles, mixed media, and small metals. She creates layered images that are just as much about process as the image itself. A native of North Carolina, Sarah received her BFA from Barton College in Wilson, NC and her MFA from East Carolina University in Greenville, NC. Sarah is an adjunct instructor at several colleges in Eastern North Carolina.
CAREER HIGHLIGHTS:
2018
Juried Group Show, Identity, OURS Magazine, on-line Gallery
Juried Group Show, Alteration Exhibition, LoosenArt Mag and Gallery, on-line Gallery
Juried Group Show, Call and Response: Art as Resistance, Strange Fire Collective at Photographic Center Northwest, Seattle, Washington
2017
Juried Group Show, Just Breathe, 18% Grey at Greensboro project Space, Greensboro, North Carolina
Solo Show, Sarah, Craig F. Goess Student Center Gallery, Pitt Community College, Winterville, North Carolina
Solo Show, Sarah, MFA Thesis Exhibition, West Wing Gallery, Greenville Museum of Art, Greenville, North Carolina
Juried Group Show, Call and Response: Art as Resistance, Strange Fire Collective, Denver Colorado
Juried Group Show, The Female Gaze, Don’t Smile on-line Gallery
2016
Juried Group Show, Glass & Tin, Don’t Take Pictures on-line Gallery
Juried Group Show, Self: The Realization of Autonomy, Femme Fotale, The Liquor Gallery, Tempe, Arizona
Juried Group Show, Mirror with a Memory, The Nave Gallery Annex, Somerville, Massachusetts - traveling to Peter Miller Fine Art Contemporary Photography Gallery, Providence, Rhode Island
http://sarahlazure.blogspot.com
My self-portraits are full of emotion, thought, and creative energy and are made to engage the viewer in an intimate moment.
I work by transforming thoughts and emotions into photographs and then alter the image. The creative process is an intuitive call and response between me and the materials. I continue to manipulate the surface until the discourse is complete and the piece is balanced.
I empower my gaze and the intimacy of prolonged eye contact to portray the strength of my vulnerability and my desire to connect, acknowledge, and interact with my viewer. My gaze is commanding and requests your return gaze. There is no question that I am looking at you."
Sarah Lazure is a photo-based artist living in Greenville, North Carolina. As an artist who likes to get her hands dirty, Sarah uses a variety of processes to make her work. She uses a combination of traditional darkroom printing with digital manipulations and image transfer processes. She also explores creating imagery with textiles, mixed media, and small metals. She creates layered images that are just as much about process as the image itself. A native of North Carolina, Sarah received her BFA from Barton College in Wilson, NC and her MFA from East Carolina University in Greenville, NC. Sarah is an adjunct instructor at several colleges in Eastern North Carolina.
CAREER HIGHLIGHTS:
2018
Juried Group Show, Identity, OURS Magazine, on-line Gallery
Juried Group Show, Alteration Exhibition, LoosenArt Mag and Gallery, on-line Gallery
Juried Group Show, Call and Response: Art as Resistance, Strange Fire Collective at Photographic Center Northwest, Seattle, Washington
2017
Juried Group Show, Just Breathe, 18% Grey at Greensboro project Space, Greensboro, North Carolina
Solo Show, Sarah, Craig F. Goess Student Center Gallery, Pitt Community College, Winterville, North Carolina
Solo Show, Sarah, MFA Thesis Exhibition, West Wing Gallery, Greenville Museum of Art, Greenville, North Carolina
Juried Group Show, Call and Response: Art as Resistance, Strange Fire Collective, Denver Colorado
Juried Group Show, The Female Gaze, Don’t Smile on-line Gallery
2016
Juried Group Show, Glass & Tin, Don’t Take Pictures on-line Gallery
Juried Group Show, Self: The Realization of Autonomy, Femme Fotale, The Liquor Gallery, Tempe, Arizona
Juried Group Show, Mirror with a Memory, The Nave Gallery Annex, Somerville, Massachusetts - traveling to Peter Miller Fine Art Contemporary Photography Gallery, Providence, Rhode Island
http://sarahlazure.blogspot.com
SARAH 2 by Sarah Lazure
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SARAH 3 by Sarah Lazure
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DON'T LET IT DEFINE YOU by Sarah Emma Robinson
SECOND PLACE
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SECOND PLACE
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Sarah Emma Robinson says, "My self-portraiture addresses anxiety and depressive disorders and the daily battles many people silently fight.
I have struggled with depression and anxiety for almost 10 years, and have been successfully medicated, however, I can still find myself slipping into a depressive episode or experiencing a panic attack ever so often.
I am not constantly on top of my medication, and therapy I will slip back into an abyss of depression.
Being raised in a religious background, there is a stigma attached to emotional and mental disorders that have a harmful effect.
Many feel that if you were to simply “pray away the pain” or “have enough faith” that God would take it away.
My photos address the stigmas or preconceived notions I personally have experienced. Each photograph title is a comment that has been said to me when someone has found out about my anxiety or depression."
Sarah Robinson is currently a student at Brigham Young University in Provo, Utah, where she will graduate with a degree in Design with an Emphasis in Photography in April of 2019. Her passion lies in Alternative Process and Film photography, along with Documentary Portraiture. She plans on Pursuing a Masters in Photography after she graduates.
CAREER HIGHLIGHTS:
2017 Entry into BYU-Idaho Fine art show
2017 Two entries into an Idaho statewide Fine art show
2017 Grand prize and 1st place in the Madison County Fair Photography division
2018 Entry into the Utah Statewide Mayhew Show
2018 Private show on Brigham Young University Campus
Contact Info: sarahrobinsonphoto@gmail.com
I have struggled with depression and anxiety for almost 10 years, and have been successfully medicated, however, I can still find myself slipping into a depressive episode or experiencing a panic attack ever so often.
I am not constantly on top of my medication, and therapy I will slip back into an abyss of depression.
Being raised in a religious background, there is a stigma attached to emotional and mental disorders that have a harmful effect.
Many feel that if you were to simply “pray away the pain” or “have enough faith” that God would take it away.
My photos address the stigmas or preconceived notions I personally have experienced. Each photograph title is a comment that has been said to me when someone has found out about my anxiety or depression."
Sarah Robinson is currently a student at Brigham Young University in Provo, Utah, where she will graduate with a degree in Design with an Emphasis in Photography in April of 2019. Her passion lies in Alternative Process and Film photography, along with Documentary Portraiture. She plans on Pursuing a Masters in Photography after she graduates.
CAREER HIGHLIGHTS:
2017 Entry into BYU-Idaho Fine art show
2017 Two entries into an Idaho statewide Fine art show
2017 Grand prize and 1st place in the Madison County Fair Photography division
2018 Entry into the Utah Statewide Mayhew Show
2018 Private show on Brigham Young University Campus
Contact Info: sarahrobinsonphoto@gmail.com
JUST CHANGE YOUR ATTITUDE by Sarah Emma Robinson
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YOU THINK TOO MUCH by Sarah Emma Robinson
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SELF PORTRAIT (TRIPTYCH 01) by Svava Tergesen
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Svava Tergesen says, "These three images together form a single triptych that speaks to my experience of self. They individually represent the body, mind and spirit.
My feet are my physical experience: grounded in a stark and austere urban life. My mind dwells in the comfort of books and domestic life.
But my spirit lives in a lush otherworld. As a whole, this series was inspired by physical injury that has left me unable to go about my life the way I used to. Now, there is a distinct separation between what I want and what I am physically capable of. The sectioning of the body into three sections speaks to this dissociative experience, and attempts to communicate the difference between what I am and who I want to be."
Svava is a young photographer living in Vancouver, BC. She is currently pursuing a BFA in photography after earning a degree in Mathematics.
CAREER HIGHLIGHTS:
GRANTS & AWARDS
2018 BC Arts Council Scholarship
2015 McGill Fine Arts Council Grant
SOLO & TWO-PERSON EXHIBITIONS:
2017 Camille Lamy & Svava Tergesen, Galerie des membres, Atelier Circulaire, QC
GROUP EXHIBITIONS & SCREENINGS:
2018 (upcoming) Living Image 2018, Gravy Studio & Gallery, Philidelphia, PA
2017 Expo-vente, Atelier Circulaire, Montreal, QC
2016 Folio Magazine Issue 15 Launch & Exhibit, Espace Pop, Montreal, QC
2016 MUPSS Retrospective, Shape Gallery, Montreal, QC
2015 One Take Super 8 Event, La Sala Rossa, Montréal, QC
PUBLICATIONS:
2016 Scrivener Creative Review, Number 41.
2016 Folio Magazine, Number 16.
TEACHING EXPERIENCE:
2017 Alternative Processes in Photography, Instructor, Atelier Circulaire, Montreal, QC
PROFESSIONAL EXPERIENCE:
2018 Research Assistant, Renaissance Press, Ashuelot, NH
2017 Digital Studio Technician, Atelier Circulaire, Montreal, QC
2015-16 President, McGill University Photography Society, Montreal, QC
www.cargocollective.com/solarun
My feet are my physical experience: grounded in a stark and austere urban life. My mind dwells in the comfort of books and domestic life.
But my spirit lives in a lush otherworld. As a whole, this series was inspired by physical injury that has left me unable to go about my life the way I used to. Now, there is a distinct separation between what I want and what I am physically capable of. The sectioning of the body into three sections speaks to this dissociative experience, and attempts to communicate the difference between what I am and who I want to be."
Svava is a young photographer living in Vancouver, BC. She is currently pursuing a BFA in photography after earning a degree in Mathematics.
CAREER HIGHLIGHTS:
GRANTS & AWARDS
2018 BC Arts Council Scholarship
2015 McGill Fine Arts Council Grant
SOLO & TWO-PERSON EXHIBITIONS:
2017 Camille Lamy & Svava Tergesen, Galerie des membres, Atelier Circulaire, QC
GROUP EXHIBITIONS & SCREENINGS:
2018 (upcoming) Living Image 2018, Gravy Studio & Gallery, Philidelphia, PA
2017 Expo-vente, Atelier Circulaire, Montreal, QC
2016 Folio Magazine Issue 15 Launch & Exhibit, Espace Pop, Montreal, QC
2016 MUPSS Retrospective, Shape Gallery, Montreal, QC
2015 One Take Super 8 Event, La Sala Rossa, Montréal, QC
PUBLICATIONS:
2016 Scrivener Creative Review, Number 41.
2016 Folio Magazine, Number 16.
TEACHING EXPERIENCE:
2017 Alternative Processes in Photography, Instructor, Atelier Circulaire, Montreal, QC
PROFESSIONAL EXPERIENCE:
2018 Research Assistant, Renaissance Press, Ashuelot, NH
2017 Digital Studio Technician, Atelier Circulaire, Montreal, QC
2015-16 President, McGill University Photography Society, Montreal, QC
www.cargocollective.com/solarun
SELF PORTRAIT (TRIPTYCH 02) by Svava Tergesen
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SELF PORTRAIT (TRIPTYCH 03) by Svava Tergesen
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SELF-PORTRAIT HOME:
http://www.laphotocurator.com/self-portrait-curator-laurie-freitag
FIRST PLACE:
http://www.laphotocurator.com/self-portrait-curator-laurie-freitag/first-place-jo-ann-chaus-slip----/1
SECOND PLACE:
http://www.laphotocurator.com/self-portrait-curator-laurie-freitag/second-place-sarah-emma-robinson-don-t-let-it-define-you----/1
THIRD PLACE:
http://www.laphotocurator.com/self-portrait-curator-laurie-freitag/third-place-kelli-pennington-mirror-reflection----/1
HONORABLE MENTION:
http://www.laphotocurator.com/self-portrait-curator-laurie-freitag/honorable-mentions-armineh-hovanesian-sometimes-we-enter-art-to-hide-within-grace-clark-untitled-iii-terra-form-dan-cook-thankful-gordon-mcdonald-moving-in----/1
BEST SERIES:
http://www.laphotocurator.com/self-portrait-curator-laurie-freitag/best-series-jo-ann-chaus/1
EXHIBITION #1:
http://www.laphotocurator.com/self-portrait-curator-laurie-freitag/exhibition-1/1
EXHIBITION #2:
http://www.laphotocurator.com/self-portrait-curator-laurie-freitag/exhibition-2/1
(Click on image for larger view)
SELF-PORTRAIT HOME:
http://www.laphotocurator.com/self-portrait-curator-laurie-freitag
FIRST PLACE:
http://www.laphotocurator.com/self-portrait-curator-laurie-freitag/first-place-jo-ann-chaus-slip----/1
SECOND PLACE:
http://www.laphotocurator.com/self-portrait-curator-laurie-freitag/second-place-sarah-emma-robinson-don-t-let-it-define-you----/1
THIRD PLACE:
http://www.laphotocurator.com/self-portrait-curator-laurie-freitag/third-place-kelli-pennington-mirror-reflection----/1
HONORABLE MENTION:
http://www.laphotocurator.com/self-portrait-curator-laurie-freitag/honorable-mentions-armineh-hovanesian-sometimes-we-enter-art-to-hide-within-grace-clark-untitled-iii-terra-form-dan-cook-thankful-gordon-mcdonald-moving-in----/1
BEST SERIES:
http://www.laphotocurator.com/self-portrait-curator-laurie-freitag/best-series-jo-ann-chaus/1
EXHIBITION #1:
http://www.laphotocurator.com/self-portrait-curator-laurie-freitag/exhibition-1/1
EXHIBITION #2:
http://www.laphotocurator.com/self-portrait-curator-laurie-freitag/exhibition-2/1
