THE EXPANDED IMAGE- Lori Pond & Ann Mitchell > Exhibition #2
Exhibition #2
Kathryn Dunlevie/Detail From a Work in Progess
Honorable Mention
Honorable Mention
Kathryn Dunlevie
I started working in collage when I was fourteen: covering cigar boxes with snippets of found images I thought the intended recipients might enjoy. I LOVED the tension the juxtapositions created.
In my twenties I studied painting, and had photographer friends I would model for in exchange for prints - prints which soon found their way into my paintings. I found the interplay of the paint and the photos electrifying.
Years later, I started experimenting with Photoshop, layering images onto each composition long into the night, in a state of bliss. It seemed nothing short of magical...I was hooked.
I find that the way different images and different media call to each other - whether melting together, or staunchly holding their ground - is one of the most fascinating and exciting aspects of my practice.
Born in Atlanta, Dunlevie lived in six different states by the time she was 12, and in Paraguay when she was 16. She has a B.A. in fine arts from Rice University and studied art history and film at the University of Paris, painting at California College of the Arts, and photography in Madrid.
She has received numerous awards and fellowships, including two Arts Council Silicon Valley Artist Laureate Fellowships. Her work has been exhibited in the People's Republic of China at the Fujian Huaguang Photographic Art Museum, and at the Pingyao International Photography Festival, as well as in Moscow with the US Art in Embassies Program, at Toronto’s Gallery TPW, and in the United States at FotoFest International, San Francisco Camerawork, PhotoAlliance, the Southeast Museum of Photography, Washington DC’s Art Museum of the Americas, and the Institute of Contemporary Art San Jose.
Her work has been reviewed in Spain’s La Fotografia Actual, in Korea’s photo +, in Germany’s Profifoto, as well as in San Francisco's Camerawork: A Journal of Photographic Arts, Visual Art Source, and AestheticsToday.blogs.
www.kathryndunlevie.com
www.instagram.com/kathryndunlevie
I started working in collage when I was fourteen: covering cigar boxes with snippets of found images I thought the intended recipients might enjoy. I LOVED the tension the juxtapositions created.
In my twenties I studied painting, and had photographer friends I would model for in exchange for prints - prints which soon found their way into my paintings. I found the interplay of the paint and the photos electrifying.
Years later, I started experimenting with Photoshop, layering images onto each composition long into the night, in a state of bliss. It seemed nothing short of magical...I was hooked.
I find that the way different images and different media call to each other - whether melting together, or staunchly holding their ground - is one of the most fascinating and exciting aspects of my practice.
Born in Atlanta, Dunlevie lived in six different states by the time she was 12, and in Paraguay when she was 16. She has a B.A. in fine arts from Rice University and studied art history and film at the University of Paris, painting at California College of the Arts, and photography in Madrid.
She has received numerous awards and fellowships, including two Arts Council Silicon Valley Artist Laureate Fellowships. Her work has been exhibited in the People's Republic of China at the Fujian Huaguang Photographic Art Museum, and at the Pingyao International Photography Festival, as well as in Moscow with the US Art in Embassies Program, at Toronto’s Gallery TPW, and in the United States at FotoFest International, San Francisco Camerawork, PhotoAlliance, the Southeast Museum of Photography, Washington DC’s Art Museum of the Americas, and the Institute of Contemporary Art San Jose.
Her work has been reviewed in Spain’s La Fotografia Actual, in Korea’s photo +, in Germany’s Profifoto, as well as in San Francisco's Camerawork: A Journal of Photographic Arts, Visual Art Source, and AestheticsToday.blogs.
www.kathryndunlevie.com
www.instagram.com/kathryndunlevie
Kathryn Dunlevie/Culver City Mud Wrestlers
Kathryn Dunlevie/Dr. Who's Girlfriend
Kathryn Dunlevie/Ophelia at the Santa Monica Pier
Kathryn Dunlevie/Persephone
Kathryn Dunlevie/Yonder
Kevin Lyle/Imaginary Imagist 23651
Kevin Lyle/Imaginary Imagist 23673
Kevin Lyle/Imaginary Imagist 23695
Kevin Lyle/Neon Stories 26195
Kevin Lyle/Neon Stories 26235
Kevin Lyle
My process is fueled by an innate hunter/gatherer impulse. Most of my images are collected within walking distance of my home on Chicago's north side. I rarely venture out with a clear objective. When I photograph something, I may or may not have a clear understanding of its meaning or value at the time. I trust my instincts. Post production analysis sometimes results in recognition almost immediately. Other times it takes months or years for an image to reveal itself.
Bio: Kevin first became interested in art around the age of 12. Art class became the most interesting part of school. After one semester at the Cleveland Institute of Art he realized that art school was not for him. He is a self taught photographer. Collecting African masks and the process of photographing them for documentary purposes led to a broader interest in photography and the collecting of images. Most of his images are collected within walking distance of his home on Chicago's north side.
Images For Sale:
Imaginary Imagist 23651 - 19"H x 13"W
Archival Paper
$300 Unframed
Open Edition
Signed on back
Imaginary Imagist 23673 - 19"H x 13"W
Archival Paper
$300 Unframed
Open Edition
Signed on back
Imaginary Imagist 23695 - 19"H x 13"W
Archival Paper
$300 Unframed
Open Edition
Signed on back
Neon Stories 26195 - 19"H x 13"W
Archival Paper
$300 Unframed
Open Edition
Signed on back
Neon Stories 26235 - 19"H x 13"W
Archival Paper
$300 Unframed
Open Edition
Signed on back
Neon Stories 26236 - 19"H x 13"W
Archival Paper
$300 Unframed
Open Edition
Signed on back
Contact: Kevin Lyle
klyle2006@gmail.com
www.kevinlylephotos.com
www.instagram.com/klyle2006
My process is fueled by an innate hunter/gatherer impulse. Most of my images are collected within walking distance of my home on Chicago's north side. I rarely venture out with a clear objective. When I photograph something, I may or may not have a clear understanding of its meaning or value at the time. I trust my instincts. Post production analysis sometimes results in recognition almost immediately. Other times it takes months or years for an image to reveal itself.
Bio: Kevin first became interested in art around the age of 12. Art class became the most interesting part of school. After one semester at the Cleveland Institute of Art he realized that art school was not for him. He is a self taught photographer. Collecting African masks and the process of photographing them for documentary purposes led to a broader interest in photography and the collecting of images. Most of his images are collected within walking distance of his home on Chicago's north side.
Images For Sale:
Imaginary Imagist 23651 - 19"H x 13"W
Archival Paper
$300 Unframed
Open Edition
Signed on back
Imaginary Imagist 23673 - 19"H x 13"W
Archival Paper
$300 Unframed
Open Edition
Signed on back
Imaginary Imagist 23695 - 19"H x 13"W
Archival Paper
$300 Unframed
Open Edition
Signed on back
Neon Stories 26195 - 19"H x 13"W
Archival Paper
$300 Unframed
Open Edition
Signed on back
Neon Stories 26235 - 19"H x 13"W
Archival Paper
$300 Unframed
Open Edition
Signed on back
Neon Stories 26236 - 19"H x 13"W
Archival Paper
$300 Unframed
Open Edition
Signed on back
Contact: Kevin Lyle
klyle2006@gmail.com
www.kevinlylephotos.com
www.instagram.com/klyle2006
Kevin Lyle/Neon Stories 26236
Kimberly Schneider/Baked Hibiscus (aka Mixes-Media #2) Brooklyn, NY)
Honorable Mention
Honorable Mention
Kimberly J. Schneider
My deep dive into experimental analog photography began out of an unfinished darkroom, in my (former) lower Manhattan apartment, in 2020.
Pre-2020, I identified as a maker of spiritual landscape photographs and was exclusively a lens-based artist, whose primary medium was infrared (with a dash of traditional black-and-white) film; printmaking is also my second love, and some of my first really experimental processes were modified silver gelatin versions of printmaking processes. My second home darkroom was in the process of being set up just prior to the pandemic, so the photograms were a happy accident, a silver lining that kept me pumping out prints and creating the most experimental work of my life, both during my time in isolation and for years after the pandemic ended.
Flash forward to 2023; while briefly in the San Diego area to teach a brief photograms class, I became inspired to collect materials for my first proper location-specific photogram materials. So, I went to Windansea Beach and collected as much Pacific Ocean water, beach sand, seaweed, and more that I could fit in the containers I had with me, and shipped it to myself in NYC, specifically for cameraless landscape photographs; from November 2023 until my former apartment building stopped being darkroom friendly in May 2024, I made all of my photograms with these materials. About 6 weeks before I had to move and put the contents of my darkroom (along with most of my former home) into storage, a friend gifted me with a big LED panel, which is what I used to wing making my first (San Diego/location-specific) mixed process lumen. Thankfully the process translated well and that very first lumen (along with my second or third San Diego lumen and a handful of my photograms),debuted in the bins at AIPAD 2024, via Scott Nichols Gallery).
A few months after the move to my impermanent residence, another friend was kind enough to build me a big beautiful light box, which I received in July of that year. I was coincidentally preparing to teach a brief cyanotypes class in the fall and that lightbox got a lot of use. My experiments with cyanotype chemistry began with mixed media cyanotypes and quickly led to my painting (heavily) with cyanotype and other chemistry, in order to expand the contrast and color palettes of my lumens. After spending a year pumping out a wide variety of painted cyanotype lumen-chemigrams (and missing the darkroom like crazy), I was actually beginning to lose interest until a new process came to me in late October 2025...
My hibiscus-lumen/mixed-media hibiscus-lumen processes incorporate various forms of hibiscus - from deeply concentrated hibiscus tea to pulpy hibiscus chunks to loose dried pieces, and also (in some cases) incorporate painted cyanotype chemistry, watercolor paint, and other materials. They may or not be super archival. Further, some of them are slightly 3-dimensional, as I was able to bake in materials that wouldn't wash off during the print wash. (None of my lumens are fixed thus far, as due to the high metal content of the majority of papers I use, the fixer washes the colors out and makes the prints really muddy looking.)Over the past 5 years, I have produced 9 bodies of analog photographic and mixed-media artwork2- Artist Statement & BioArtist Statement
I am drawn to desolate land and seascapes. For me, making photographs is a meditation of mediation of sorts, a search for truth, which I do both with and without cameras, and via a variety of analog photographic processes. Further, I am deeply inspired by the beauty and textures of the western US (and live in New York).
All of my photographs are equivalent images, and all of my bodies of work are closely related.
Regardless of the process I use to translate my vision, my work is about both what is visible to the naked eye, as well as what is not; the latter reveals itself during my analog printing processes, which also involves writing poetry (I fell into photography by way of eastern religions a lifetime ago; the latter quickly found its way into my work/processes and never left). However, making photograms with sand, ocean water, snow, ice, and more opened my eyes to what a landscape photograph could be, as a unique art object...
I am submitting a selection of cameraless photographs from 3 bodies of work (and some very experimental test prints, that are closely related to one of those series').
Bio-
Kimberly Schneider has been dedicated to the art of the handmade print for more than 15 years. Specializing in true infrared film, spiritual landscapes, and experimental photograms/mixed-process lumens, she holds a BFA in photography (and minor in philosophy) from Colorado State University, exhibits her work regularly, and enjoys teaching photography and art as healing, as well as printing for other photographic artists and enthusiasts.
Her work has been in notable exhibitions at Center for Photographic Art, Scott Nichols Gallery, AIPAD (Association of International Photography Art Dealers), Photo Forward Los Angeles, Soho Photo, The Camera Obscura Gallery, The Photographer’s Eye Collective, San Diego Art Institute, ZIA Gallery, and Foto Nostrum (Barcelona, Spain), as well as virtually at The Louvre; She is honored to have work in the collection of Susan Herzig & Paul Hertzmann, San Francisco.
She recently exhibited "Koan in Blue" via the 2025 International Juried Exhibition at Center for Photographic Art (CPA), in Carmel, CA, juried by Cig Harvey (she also previously exhibited in the 2023 exhibition, which was juried by Hamidah Glasgow).
Kimberly contributed 7 pages to the 5th (current) edition of The Darkroom Cookbook (at Steve Anchell's request), which is currently available for purchase, and was also honored to contribute to the previous version.
In July 2025, she exhibited "Phoenix, San Diego, CA," an earlier mixed-process lumen, in the National Competition Exhibition at Soho Photo (Juried by Jean Dykstra), as well as previously in the Slight of Hand Exhibition (juried by Michael Kirchoff in 2024 and by Ann Jastrab in 2023)
A small selection of her previous online features of note include:
Your Daily Photograph - July 5th-6th & October 30-31, 2024, January 2023 and previously
Podcast for Frames Magazine 2024
Aeonian Magazine, Issues: 10 (January 2024), 11 (August 2024), 12 (January 2025), 13 (July 2025), and previously
(paid) Artist-in-Residence for Frames Magazine in 2022
The OD Review, 2021 (debut of a new series a few days after the first prints
Recent Awards include:
Honorary Spider Fellow (Nominee) - 16th, 18th, 19th, & 20th Black and White Spider Awards
Runner Up (to the Series Winner) - 17th Julia Margaret Cameron Awards
3rd Place - 16th Julia Margaret Cameron Awards
Honorable Mentions via:
the 18th Julia Margaret Cameron Awards
LA Photo Curator’s A Thousand Words competition
the 16th Pollux Awards
LA Photo Curator’s Surrealism competition
IMAGES FOR SALE
"Baked Hibiscus (aka Mixed-medium #2), Brooklyn, NY" - 8" H x 10" W
Unique silver gelatin/mixed process sun print (painted cyanotype/painted and toned hibiscus/baked watercolor/mixed-media lumen), made with various items found in my kitchen and watercolor paint, unfixed.
$400 unframed (info will be provided on how to properly care for and frame the unfixed print; framing options also available)
One-of-a-kind print
Signed on back
Also available as a BIG PRINT Made to Order/Inkjet Option (made from scan of the original print)
Minimum size 24 x 30 with deposit, custom-sizes and framing options available upon request
"Pollock" - 20" Hx16" W
Unique silver gelatin print (photogram/ice rubbing print) made with ice, sand, flowers, and glitter
$1500 unframed (framing options available)
One of a kind print (will consider big print inkjet digital print option upon request for sizes 32x40" and up)
Signed on back
"Wind an Sea (Beach), La Jolla, CA - 14" H x 11" W
Unique silver gelatin print (photogram/unique landscape photograph) made with the Pacific Ocean, beach sand, and more
$1200 unframed (framing options available)
One-of-a-kind print
Signed on Back
"Devastation, LA" (tribute print) - 11" H x 14" W Unique silver gelatin print/mixed process sun print (painted cyanotype and lumen-chemigram), made with Brooklyn snow, ice, and more. Printed on January 5th; the title was modified 2 days later, in honor of those affected by the fires. Unfixed.
$1200 for original print unframed (info will be provided on how to properly care for and frame the unfixed print), framing options available upon request
One-of-a-kind print
Signed on back
Also available as a BIG PRINT Made to Order/Inkjet Option (made from scan of the original print)
Minimum size 33 x 42" for full frame image or 36x36" if cropped to square (custom-sizes and framing options available upon request).
"Tempest, Brooklyn, NY" - 8" H x 10" W
Unique silver gelatin (darkroom) print/mixed process sun print (painted cyanotype-hibiscus-lumen & chemigram), made with concentrated hibiscus liquid, hibiscus pieces, and various items in my kitchen. Unfixed.
$400 unframed (info will be provided on how to properly care for and frame the unfixed print; framing options also available)One-of-a-kind print
Signed on back
Also available as a BIG PRINT Made to Order/Inkjet Option (made from scan of the original print)
Minimum size 24 x 30 with deposit, custom-sizes and framing options available upon request
"Bloodletting (aka Shark Infested Waters), Brooklyn, NY" - 8" H x 10" W
Unique silver gelatin/mixed process sun print (painted cyanotype/painted and selectively toned hibiscus/mixed-media lumen), made with various items found in my kitchen and watercolor paint, unfixed.
$400 unframed (info will be provided on how to properly care for and frame the unfixed print; framing options also available)
One-of-a-kind print
Signed on back (please note that the a large portion of the back of the print is largely stained from toning in hibiscus, an additional signature is available upon request)
Also available as a BIG PRINT Made to Order/Inkjet Option (made from scan of the original print)
Minimum size 24 x 30 with deposit, custom-sizes and framing options available upon
Contact
Kimberly Schneider: kimberly@kimberlyjschneider.com
www.kimberlyjschneider.com
www.instagram.com/kimberlyjschneiderphotography
https://www.facebook.com/kimberlyjschneiderphotography
My deep dive into experimental analog photography began out of an unfinished darkroom, in my (former) lower Manhattan apartment, in 2020.
Pre-2020, I identified as a maker of spiritual landscape photographs and was exclusively a lens-based artist, whose primary medium was infrared (with a dash of traditional black-and-white) film; printmaking is also my second love, and some of my first really experimental processes were modified silver gelatin versions of printmaking processes. My second home darkroom was in the process of being set up just prior to the pandemic, so the photograms were a happy accident, a silver lining that kept me pumping out prints and creating the most experimental work of my life, both during my time in isolation and for years after the pandemic ended.
Flash forward to 2023; while briefly in the San Diego area to teach a brief photograms class, I became inspired to collect materials for my first proper location-specific photogram materials. So, I went to Windansea Beach and collected as much Pacific Ocean water, beach sand, seaweed, and more that I could fit in the containers I had with me, and shipped it to myself in NYC, specifically for cameraless landscape photographs; from November 2023 until my former apartment building stopped being darkroom friendly in May 2024, I made all of my photograms with these materials. About 6 weeks before I had to move and put the contents of my darkroom (along with most of my former home) into storage, a friend gifted me with a big LED panel, which is what I used to wing making my first (San Diego/location-specific) mixed process lumen. Thankfully the process translated well and that very first lumen (along with my second or third San Diego lumen and a handful of my photograms),debuted in the bins at AIPAD 2024, via Scott Nichols Gallery).
A few months after the move to my impermanent residence, another friend was kind enough to build me a big beautiful light box, which I received in July of that year. I was coincidentally preparing to teach a brief cyanotypes class in the fall and that lightbox got a lot of use. My experiments with cyanotype chemistry began with mixed media cyanotypes and quickly led to my painting (heavily) with cyanotype and other chemistry, in order to expand the contrast and color palettes of my lumens. After spending a year pumping out a wide variety of painted cyanotype lumen-chemigrams (and missing the darkroom like crazy), I was actually beginning to lose interest until a new process came to me in late October 2025...
My hibiscus-lumen/mixed-media hibiscus-lumen processes incorporate various forms of hibiscus - from deeply concentrated hibiscus tea to pulpy hibiscus chunks to loose dried pieces, and also (in some cases) incorporate painted cyanotype chemistry, watercolor paint, and other materials. They may or not be super archival. Further, some of them are slightly 3-dimensional, as I was able to bake in materials that wouldn't wash off during the print wash. (None of my lumens are fixed thus far, as due to the high metal content of the majority of papers I use, the fixer washes the colors out and makes the prints really muddy looking.)Over the past 5 years, I have produced 9 bodies of analog photographic and mixed-media artwork2- Artist Statement & BioArtist Statement
I am drawn to desolate land and seascapes. For me, making photographs is a meditation of mediation of sorts, a search for truth, which I do both with and without cameras, and via a variety of analog photographic processes. Further, I am deeply inspired by the beauty and textures of the western US (and live in New York).
All of my photographs are equivalent images, and all of my bodies of work are closely related.
Regardless of the process I use to translate my vision, my work is about both what is visible to the naked eye, as well as what is not; the latter reveals itself during my analog printing processes, which also involves writing poetry (I fell into photography by way of eastern religions a lifetime ago; the latter quickly found its way into my work/processes and never left). However, making photograms with sand, ocean water, snow, ice, and more opened my eyes to what a landscape photograph could be, as a unique art object...
I am submitting a selection of cameraless photographs from 3 bodies of work (and some very experimental test prints, that are closely related to one of those series').
Bio-
Kimberly Schneider has been dedicated to the art of the handmade print for more than 15 years. Specializing in true infrared film, spiritual landscapes, and experimental photograms/mixed-process lumens, she holds a BFA in photography (and minor in philosophy) from Colorado State University, exhibits her work regularly, and enjoys teaching photography and art as healing, as well as printing for other photographic artists and enthusiasts.
Her work has been in notable exhibitions at Center for Photographic Art, Scott Nichols Gallery, AIPAD (Association of International Photography Art Dealers), Photo Forward Los Angeles, Soho Photo, The Camera Obscura Gallery, The Photographer’s Eye Collective, San Diego Art Institute, ZIA Gallery, and Foto Nostrum (Barcelona, Spain), as well as virtually at The Louvre; She is honored to have work in the collection of Susan Herzig & Paul Hertzmann, San Francisco.
She recently exhibited "Koan in Blue" via the 2025 International Juried Exhibition at Center for Photographic Art (CPA), in Carmel, CA, juried by Cig Harvey (she also previously exhibited in the 2023 exhibition, which was juried by Hamidah Glasgow).
Kimberly contributed 7 pages to the 5th (current) edition of The Darkroom Cookbook (at Steve Anchell's request), which is currently available for purchase, and was also honored to contribute to the previous version.
In July 2025, she exhibited "Phoenix, San Diego, CA," an earlier mixed-process lumen, in the National Competition Exhibition at Soho Photo (Juried by Jean Dykstra), as well as previously in the Slight of Hand Exhibition (juried by Michael Kirchoff in 2024 and by Ann Jastrab in 2023)
A small selection of her previous online features of note include:
Your Daily Photograph - July 5th-6th & October 30-31, 2024, January 2023 and previously
Podcast for Frames Magazine 2024
Aeonian Magazine, Issues: 10 (January 2024), 11 (August 2024), 12 (January 2025), 13 (July 2025), and previously
(paid) Artist-in-Residence for Frames Magazine in 2022
The OD Review, 2021 (debut of a new series a few days after the first prints
Recent Awards include:
Honorary Spider Fellow (Nominee) - 16th, 18th, 19th, & 20th Black and White Spider Awards
Runner Up (to the Series Winner) - 17th Julia Margaret Cameron Awards
3rd Place - 16th Julia Margaret Cameron Awards
Honorable Mentions via:
the 18th Julia Margaret Cameron Awards
LA Photo Curator’s A Thousand Words competition
the 16th Pollux Awards
LA Photo Curator’s Surrealism competition
IMAGES FOR SALE
"Baked Hibiscus (aka Mixed-medium #2), Brooklyn, NY" - 8" H x 10" W
Unique silver gelatin/mixed process sun print (painted cyanotype/painted and toned hibiscus/baked watercolor/mixed-media lumen), made with various items found in my kitchen and watercolor paint, unfixed.
$400 unframed (info will be provided on how to properly care for and frame the unfixed print; framing options also available)
One-of-a-kind print
Signed on back
Also available as a BIG PRINT Made to Order/Inkjet Option (made from scan of the original print)
Minimum size 24 x 30 with deposit, custom-sizes and framing options available upon request
"Pollock" - 20" Hx16" W
Unique silver gelatin print (photogram/ice rubbing print) made with ice, sand, flowers, and glitter
$1500 unframed (framing options available)
One of a kind print (will consider big print inkjet digital print option upon request for sizes 32x40" and up)
Signed on back
"Wind an Sea (Beach), La Jolla, CA - 14" H x 11" W
Unique silver gelatin print (photogram/unique landscape photograph) made with the Pacific Ocean, beach sand, and more
$1200 unframed (framing options available)
One-of-a-kind print
Signed on Back
"Devastation, LA" (tribute print) - 11" H x 14" W Unique silver gelatin print/mixed process sun print (painted cyanotype and lumen-chemigram), made with Brooklyn snow, ice, and more. Printed on January 5th; the title was modified 2 days later, in honor of those affected by the fires. Unfixed.
$1200 for original print unframed (info will be provided on how to properly care for and frame the unfixed print), framing options available upon request
One-of-a-kind print
Signed on back
Also available as a BIG PRINT Made to Order/Inkjet Option (made from scan of the original print)
Minimum size 33 x 42" for full frame image or 36x36" if cropped to square (custom-sizes and framing options available upon request).
"Tempest, Brooklyn, NY" - 8" H x 10" W
Unique silver gelatin (darkroom) print/mixed process sun print (painted cyanotype-hibiscus-lumen & chemigram), made with concentrated hibiscus liquid, hibiscus pieces, and various items in my kitchen. Unfixed.
$400 unframed (info will be provided on how to properly care for and frame the unfixed print; framing options also available)One-of-a-kind print
Signed on back
Also available as a BIG PRINT Made to Order/Inkjet Option (made from scan of the original print)
Minimum size 24 x 30 with deposit, custom-sizes and framing options available upon request
"Bloodletting (aka Shark Infested Waters), Brooklyn, NY" - 8" H x 10" W
Unique silver gelatin/mixed process sun print (painted cyanotype/painted and selectively toned hibiscus/mixed-media lumen), made with various items found in my kitchen and watercolor paint, unfixed.
$400 unframed (info will be provided on how to properly care for and frame the unfixed print; framing options also available)
One-of-a-kind print
Signed on back (please note that the a large portion of the back of the print is largely stained from toning in hibiscus, an additional signature is available upon request)
Also available as a BIG PRINT Made to Order/Inkjet Option (made from scan of the original print)
Minimum size 24 x 30 with deposit, custom-sizes and framing options available upon
Contact
Kimberly Schneider: kimberly@kimberlyjschneider.com
www.kimberlyjschneider.com
www.instagram.com/kimberlyjschneiderphotography
https://www.facebook.com/kimberlyjschneiderphotography
Kimberly Schneider/Bloodletting (aka Shark Infested Waters) Brooklyn, NY
Kimberly Schneider/Devastation, LA (aka Fire on the Mountain), 2025
Kimberly Schneider/Pollock
Kimberly Schneider/Tempest, Brooklyn,NY
Kimberly Schneider/Wind and Sea (Beach), CA
Michael Jantzen/Spirit Fish
Michael Jantzen
Michael Jantzen received a BS degree from Southern Illinois University at Edwardsville, and a MFA degree from
Washington University in St. Louis Missouri. His work is very well known around the world. It has been featured in
thousands of articles in books, magazines, newspapers, and on the Web. His work has been shown in many galleries, and on various TV documentaries. It has also been exhibited at the National Building Museum, the Canadian Center for Architecture, the Harvard School of Design and Architecture, the Santa Fe Institute, and at the Museum of Modern Art in New York. Most of his work merges art, architecture, technology, and sustainable design into one unique experience.
Extreme innovation is his goal in everything he creates. Most of this innovation has been focused on the re-invention of the built environment, sculpture, and photo based art.
www.michaeljantzen.com
www.instagram.com/michael.jantzen22/
All o fate images are from a series of digitally altered photos, no AI used.
Michael Jantzen received a BS degree from Southern Illinois University at Edwardsville, and a MFA degree from
Washington University in St. Louis Missouri. His work is very well known around the world. It has been featured in
thousands of articles in books, magazines, newspapers, and on the Web. His work has been shown in many galleries, and on various TV documentaries. It has also been exhibited at the National Building Museum, the Canadian Center for Architecture, the Harvard School of Design and Architecture, the Santa Fe Institute, and at the Museum of Modern Art in New York. Most of his work merges art, architecture, technology, and sustainable design into one unique experience.
Extreme innovation is his goal in everything he creates. Most of this innovation has been focused on the re-invention of the built environment, sculpture, and photo based art.
www.michaeljantzen.com
www.instagram.com/michael.jantzen22/
All o fate images are from a series of digitally altered photos, no AI used.
Michael Jantzen/Abstraction
Michael Jantzen/Lizards
Michael Jantzen/Self Portrait
Michael Jantzen/Self Protrait 2
Michael Jantzen/Spacecraft
Michael Prais/ 5 Out of Context (Garage and Tree Vertical)
Michael Prais
The project, Out of Context Into Chaos, addresses mortality, memory, and photographic reality through the random reassembly of photographs. Reassembly cuts photographs into hundreds of small recognizable rectangles and rearranges them. The rectangles fill the same space when rearranged and are a metaphor for our finite lifetime. The repetition in the reassembly emphasizes that the graphical discontinuities at the frames of each large or small photograph take photographs out of context as death takes each of us out of our familiar context and points to precipitous loss after a finite length, time, or life.
The first component of this project, Deterioration and Loss, challenges the viewer to consider that while the durability of photographs suggests a kind of immortality, the inherent discontinuity of the frame, the rectangular photographs and their reassembled components, and the abandoned and deteriorating objects in these photographs serve as a poignant metaphor for our finite lives. The images in this component have captured arrangements of abandoned and deteriorating objects in remote settings that speak to my greatest concern–my mortality.
The second component of this project, Memory and Photographs, is a reaction to the first, dour component of this project. Most people use photographs to distract themselves from the deterioration and loss of people, objects, and situations that they hold dear. The reassembled images in this component are created from photographs that remind me of beneficial places and times in my life and that mitigate my eventual deterioration and loss–my greatest concern. Reassembly challenges the viewer to consider how they recognize and retrieve their emotions when the resemblance of and the composition in photographs are compromised. It suggests that there are differences between photographs and memories and that resemblance, the chief characteristic of photographs, does not offer recognition and does not make memories.
www.michaelprais.me/photography/
The project, Out of Context Into Chaos, addresses mortality, memory, and photographic reality through the random reassembly of photographs. Reassembly cuts photographs into hundreds of small recognizable rectangles and rearranges them. The rectangles fill the same space when rearranged and are a metaphor for our finite lifetime. The repetition in the reassembly emphasizes that the graphical discontinuities at the frames of each large or small photograph take photographs out of context as death takes each of us out of our familiar context and points to precipitous loss after a finite length, time, or life.
The first component of this project, Deterioration and Loss, challenges the viewer to consider that while the durability of photographs suggests a kind of immortality, the inherent discontinuity of the frame, the rectangular photographs and their reassembled components, and the abandoned and deteriorating objects in these photographs serve as a poignant metaphor for our finite lives. The images in this component have captured arrangements of abandoned and deteriorating objects in remote settings that speak to my greatest concern–my mortality.
The second component of this project, Memory and Photographs, is a reaction to the first, dour component of this project. Most people use photographs to distract themselves from the deterioration and loss of people, objects, and situations that they hold dear. The reassembled images in this component are created from photographs that remind me of beneficial places and times in my life and that mitigate my eventual deterioration and loss–my greatest concern. Reassembly challenges the viewer to consider how they recognize and retrieve their emotions when the resemblance of and the composition in photographs are compromised. It suggests that there are differences between photographs and memories and that resemblance, the chief characteristic of photographs, does not offer recognition and does not make memories.
www.michaelprais.me/photography/
Michael Prais/1 Out of Context (Front of Old Pickup)
Michael Prais/2 Out of Context (Burned Bike with Barrels)
Michael Prais/3 Out of Context (Spool Trailer Tires)
Michael Prais/4 Out of Context (Model T Firebird Trans AM)
Michael Prais/6 Out of Context (Tires in the Machine Shop)
Naohiro Maeda/Pet Milk #08
Naohiro Maeda
"Pet Milk"
My life as a US immigrant has been for about 9 years, including the 1 year in Germany. The more I live, study, and work, the easier and more comforting life becomes. Live events felt very random when those happened, but some reasonings I can see when I look back. It has been a process of finding unnecessary suffering and releasing it bit by bit. I keep taking photos of the landscapes that pass in front of me. I distorted these raw data with the Photoshop retouching function, then printed and hand-embroidered them to repair these landscapes like traditional Japanese embroideries strengthen old clothes. These works explore the mixture of two contrasted emotions, belonging and isolation, like evaporated milk in coffee.
Naohiro Maeda(b.1978) is a visual artist from Japan. He studied fine art photography with honors at New England School of Photography and cognitive psychology at Keio University. With his practice, he explores memory, identity and space. He was selected for the Feature Shoot Emerging Photography Awards 2024, Klompching Gallery’s Fresh 2023 finalist and Japan Photo Award Vol.9. His works were exhibited internationally including the Griffin Museum of Photography and The Curated Fridge and featured in Lenscratch and The Boston Globe. He is currently living in Colorado Springs.
www.instagram.com/NaohiroMaeda
www.naohiromaeda.com
"Pet Milk"
My life as a US immigrant has been for about 9 years, including the 1 year in Germany. The more I live, study, and work, the easier and more comforting life becomes. Live events felt very random when those happened, but some reasonings I can see when I look back. It has been a process of finding unnecessary suffering and releasing it bit by bit. I keep taking photos of the landscapes that pass in front of me. I distorted these raw data with the Photoshop retouching function, then printed and hand-embroidered them to repair these landscapes like traditional Japanese embroideries strengthen old clothes. These works explore the mixture of two contrasted emotions, belonging and isolation, like evaporated milk in coffee.
Naohiro Maeda(b.1978) is a visual artist from Japan. He studied fine art photography with honors at New England School of Photography and cognitive psychology at Keio University. With his practice, he explores memory, identity and space. He was selected for the Feature Shoot Emerging Photography Awards 2024, Klompching Gallery’s Fresh 2023 finalist and Japan Photo Award Vol.9. His works were exhibited internationally including the Griffin Museum of Photography and The Curated Fridge and featured in Lenscratch and The Boston Globe. He is currently living in Colorado Springs.
www.instagram.com/NaohiroMaeda
www.naohiromaeda.com
Naohiro Maeda/Pet Milk #01
Naohiro Maeda/Pet Milk #02
Naohiro Maeda/Pet Milk #03
Naohiro Maeda/Pet Milk #04
Naohiro Maeda/Pet Milk #09
Ondrea Hidley/Susans Spirit Animals
Ondrea Hidley
As both a lawyer and an artist, I have one foot in hard analytics and the other in free-form creativity. This seeming incongruity blends reality with possibility, each reinforcing the other and together resonating for skills in both photography and legal work.
Starting with classic photography, various subjects grace my viewfinder - from vast landscapes to abstract textures, from wild animals to humans. These images provide a palate for my imagination. Using Photoshop as my toolkit, I combine my images into something new, where realism and fantasy collide, with a touch of whimsy. My hope is to bring a bit of levity to an overstressed world.
Images for Sale:
Best Friends - 8x12
Archival paper
$200 unframed
Signed on back
Dapper - 8x12
Archive Paper
$200 unframed
Signed on back
Fly Me to the Moon - 8x10
Archival paper
$200 unframed
Signed on back
Greetings from the Southwest Postcard - 8x12
Archival paper
$200 unframed
Signed on back
Happy Horses Trotting - 16x9
Archival paper
$200 unframed
Signed on back
Susan's Spirit Animals - 8x12
Archival paper
$200 unframed
Signed on back
Contact Ondrea Hidley
ondrea@ohidley.com
www.ohidley.com
www.instagram.com/ohidley
As both a lawyer and an artist, I have one foot in hard analytics and the other in free-form creativity. This seeming incongruity blends reality with possibility, each reinforcing the other and together resonating for skills in both photography and legal work.
Starting with classic photography, various subjects grace my viewfinder - from vast landscapes to abstract textures, from wild animals to humans. These images provide a palate for my imagination. Using Photoshop as my toolkit, I combine my images into something new, where realism and fantasy collide, with a touch of whimsy. My hope is to bring a bit of levity to an overstressed world.
Images for Sale:
Best Friends - 8x12
Archival paper
$200 unframed
Signed on back
Dapper - 8x12
Archive Paper
$200 unframed
Signed on back
Fly Me to the Moon - 8x10
Archival paper
$200 unframed
Signed on back
Greetings from the Southwest Postcard - 8x12
Archival paper
$200 unframed
Signed on back
Happy Horses Trotting - 16x9
Archival paper
$200 unframed
Signed on back
Susan's Spirit Animals - 8x12
Archival paper
$200 unframed
Signed on back
Contact Ondrea Hidley
ondrea@ohidley.com
www.ohidley.com
www.instagram.com/ohidley
Ondrea Hidley/Best Friends
Ondrea Hidley/Dapper
Ondrea Hidley/Fly Me to the Moon
Ondrea Hidley/Greetings From the Southwest Postcard
Ondrea Hidley/Happy Horses Trotting
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HOME: THE EXPANDED IMAGE
https://laphotocurator.com/the-expanded-image-lori-pond-ann-mitchell
FIRST PLACE
https://laphotocurator.com/the-expanded-image-lori-pond-ann-mitchell/first-place-amadine-nabarra-bernoulli-equation-1----/1E:
HONORABLE MENTIONS:
https://laphotocurator.com/the-expanded-image-lori-pond-ann-mitchell/honorable-mentions-james-wimberg-preferred-rewards-ellen-jantzen-transmutation-kathryn-dunlevie-detail-from-a-work-in-progress-kimberly-schneider-baked-hibiscus-aka-mixed-media-2-brooklyn-ny----/1
BEST SERIES:
https://laphotocurator.com/the-expanded-image-lori-pond-ann-mitchell/best-series-susan-kaufer-carey/1
EXHIBITION #1
https://laphotocurator.com/the-expanded-image-lori-pond-ann-mitchell/exhibition-1/1
EXHIBITION #2
https://laphotocurator.com/the-expanded-image-lori-pond-ann-mitchell/exhibition-2/1
EXHIBITION #3
https://laphotocurator.com/the-expanded-image-lori-pond-ann-mitchell/exhibition-3/1
------------------------------------
HOME: THE EXPANDED IMAGE
https://laphotocurator.com/the-expanded-image-lori-pond-ann-mitchell
FIRST PLACE
https://laphotocurator.com/the-expanded-image-lori-pond-ann-mitchell/first-place-amadine-nabarra-bernoulli-equation-1----/1E:
HONORABLE MENTIONS:
https://laphotocurator.com/the-expanded-image-lori-pond-ann-mitchell/honorable-mentions-james-wimberg-preferred-rewards-ellen-jantzen-transmutation-kathryn-dunlevie-detail-from-a-work-in-progress-kimberly-schneider-baked-hibiscus-aka-mixed-media-2-brooklyn-ny----/1
BEST SERIES:
https://laphotocurator.com/the-expanded-image-lori-pond-ann-mitchell/best-series-susan-kaufer-carey/1
EXHIBITION #1
https://laphotocurator.com/the-expanded-image-lori-pond-ann-mitchell/exhibition-1/1
EXHIBITION #2
https://laphotocurator.com/the-expanded-image-lori-pond-ann-mitchell/exhibition-2/1
EXHIBITION #3
https://laphotocurator.com/the-expanded-image-lori-pond-ann-mitchell/exhibition-3/1
