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'
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'
James Wimberg/Preferred Rewards
Honorable Mention
Honorable Mention
James Wimberg
My journey in mixed media collage is rooted in a deep appreciation for form, composition, and the emotional potential of the resulting image. I’m drawn to strong graphic elements, strange juxtapositions, intentional layering, and textures. Visual choices that create rhythm and tension but ultimately serve a more intuitive goal - to convey feeling over fact.
When I make my collages, I’m not excited by the literal qualities of a specific element, but by the emotional response it evokes in me. I deliberately work as an analog collage artist because I value the tactile nature of tearing, cutting, and placing elements in the frame. I don't want to work digitally; however, I do use my phone to capture and analyze compositions as I work. This objectifies the work so I can study it in a two-dimensional format and decide what is working and what is not, in the composition.
My work invites the viewer to look past what is immediately visible and step into a more subjective experience. It’s this ambiguity, the space between clarity and abstraction that I find most compelling.
Recently, I have incorporated paint into my work pushing it past purely paper collage. I’m not necessarily interested in telling a fixed story or delivering a clear message. Instead, I want the viewer to feel something, however subtle or ambiguous. I see the act of collaging as a kind of internal listening - an intuitive reassembling of everyday images, graphics, letters, and numbers into something more personal and interpretive.
James Wimberg was born and raised in Southern Connecticut and graduated with a BFA in Printmaking from the University of Connecticut in 1979. His interest in photography began during high school with taking pictures of collapsing barns, moody landscapes, and interesting things in nature – which helped him develop his eye for light and composition. After college Jim moved to Los Angeles to pursue a career in commercial photography and to continue working on his fine art photography.
In 1986 Jim co-founded Mercier-Wimberg Photography with local photographer Mark Mercier. The two began a successful 30-year partnership in advertising photography for many high-profile clients. Wanting to give back to the photographic community, Jim taught photography courses part-time at the Academy of Art University, San Francisco and at Santa Monica Community College.
In 2021 during the pandemic, Jim began experimenting with photo-based analog collage as a new avenue of self-expression. Working in collage gave him a feeling of liberation and creativity he hadn’t felt in years. His collages have been met with enthusiasm from galleries and praise from his peers, further solidifying his reputation as a versatile and innovative artist.
Image for Sale:
Preferred Rewards – 12” x 16”
Archival ink jet print
$300. Unframed
open edition
Signed on front
Contact: James Wimberg
www.jameswimberg.com
www.instagram.com/jimwimberg
www.instagram.com/jimwimberg_art
My journey in mixed media collage is rooted in a deep appreciation for form, composition, and the emotional potential of the resulting image. I’m drawn to strong graphic elements, strange juxtapositions, intentional layering, and textures. Visual choices that create rhythm and tension but ultimately serve a more intuitive goal - to convey feeling over fact.
When I make my collages, I’m not excited by the literal qualities of a specific element, but by the emotional response it evokes in me. I deliberately work as an analog collage artist because I value the tactile nature of tearing, cutting, and placing elements in the frame. I don't want to work digitally; however, I do use my phone to capture and analyze compositions as I work. This objectifies the work so I can study it in a two-dimensional format and decide what is working and what is not, in the composition.
My work invites the viewer to look past what is immediately visible and step into a more subjective experience. It’s this ambiguity, the space between clarity and abstraction that I find most compelling.
Recently, I have incorporated paint into my work pushing it past purely paper collage. I’m not necessarily interested in telling a fixed story or delivering a clear message. Instead, I want the viewer to feel something, however subtle or ambiguous. I see the act of collaging as a kind of internal listening - an intuitive reassembling of everyday images, graphics, letters, and numbers into something more personal and interpretive.
James Wimberg was born and raised in Southern Connecticut and graduated with a BFA in Printmaking from the University of Connecticut in 1979. His interest in photography began during high school with taking pictures of collapsing barns, moody landscapes, and interesting things in nature – which helped him develop his eye for light and composition. After college Jim moved to Los Angeles to pursue a career in commercial photography and to continue working on his fine art photography.
In 1986 Jim co-founded Mercier-Wimberg Photography with local photographer Mark Mercier. The two began a successful 30-year partnership in advertising photography for many high-profile clients. Wanting to give back to the photographic community, Jim taught photography courses part-time at the Academy of Art University, San Francisco and at Santa Monica Community College.
In 2021 during the pandemic, Jim began experimenting with photo-based analog collage as a new avenue of self-expression. Working in collage gave him a feeling of liberation and creativity he hadn’t felt in years. His collages have been met with enthusiasm from galleries and praise from his peers, further solidifying his reputation as a versatile and innovative artist.
Image for Sale:
Preferred Rewards – 12” x 16”
Archival ink jet print
$300. Unframed
open edition
Signed on front
Contact: James Wimberg
www.jameswimberg.com
www.instagram.com/jimwimberg
www.instagram.com/jimwimberg_art
Ellen Jantzen/Transmutation
Honorable Mention
In 2022, Ellen Jantzen’s series Mid + West Dreaming was named Series Winner in the Digital Manipulation and Collage category in the 19th Julia Margaret Cameron Award for Women Photographers. Her photograph Departure received an Honorable Mention in the 17th Black & White Spider Awards, and she also received an Honorable Mention from the reFocus Awards. In January 2022, Jantzen presented her work as part of the i3 (Ideas, Images, Inspiration) Lecture Series at the School of Visual Arts in New York. Her work was included in the landscape exhibition Creating Land, which opened September 19 at the Pingyao International Photography Festival in Pingyao, China. Nine of her photographs were exhibited there, and the exhibition was placed in the festival’s premier exhibition space. The Pingyao festival is one of the largest photography events in China, typically presenting more than 400 exhibitions featuring roughly 2,000 photographers and over 20,000 images. Her work was also included in the International Digital Media and Arts Association (IDMAA) Conference and Exhibition.
In addition, Jantzen’s work was featured in several publications and reviews in 2022. Her images appeared in Thought Art Magazine (Issue 06) and were highlighted by Creative Concierge Services in their Subtle-Arts blog for the Mid + West series. Her work was also featured in South x Southeast Magazine in the April/May issue. For Earth Day, a selection of her images was included in a special exhibition curated by Laurie Freitag through L.A. Photo Curator. Additional features included articles in Stir World Magazine and Aesthetica Magazine (Issue 105: Points of View). Two of Jantzen’s images were also selected to illustrate an article in the January/February issue of the Harvard Business Review.
www.instagram.com/ellenjantzen/
Ellen is currently represented by Susan Spiritus of the Susan Spiritus Gallery: www.susanspiritusgallery.com
Edition One Gallery, Santa Fe, NM /www.editiononegallery.com/#/
Honorable Mention
Ellen Jantzen:
Ellen Jantzen was born and raised in St. Louis Missouri. Her early college years were spent obtaining a degree in graphic arts; later emphasizing fine art. Ellen spent two years at FIDM (the Fashion Institute of Design and Merchandising) in downtown Los Angeles. Here, she obtained her advanced degree in 1992. After a few years working in the industry, including several years at Mattel Toy Company as a senior project designer, she became disillusioned with the corporate world and longed for a more creative outlet. Having been trained in computer design while at Mattel, Ellen continued her training on her own using mostly Photoshop software. As digital technology advanced and the newer cameras were producing excellent resolution, Ellen found her perfect medium. It was a true confluence of technical advancements and creative desire that culminated in her current explorations in photo inspired art using both a camera to capture staged assemblages and a computer to alter and manipulate the pieces. Ellen has been creating works that bridge the world of prints, photography and collage.
Ellen Jantzen was born and raised in St. Louis Missouri. Her early college years were spent obtaining a degree in graphic arts; later emphasizing fine art. Ellen spent two years at FIDM (the Fashion Institute of Design and Merchandising) in downtown Los Angeles. Here, she obtained her advanced degree in 1992. After a few years working in the industry, including several years at Mattel Toy Company as a senior project designer, she became disillusioned with the corporate world and longed for a more creative outlet. Having been trained in computer design while at Mattel, Ellen continued her training on her own using mostly Photoshop software. As digital technology advanced and the newer cameras were producing excellent resolution, Ellen found her perfect medium. It was a true confluence of technical advancements and creative desire that culminated in her current explorations in photo inspired art using both a camera to capture staged assemblages and a computer to alter and manipulate the pieces. Ellen has been creating works that bridge the world of prints, photography and collage.
In addition, Jantzen’s work was featured in several publications and reviews in 2022. Her images appeared in Thought Art Magazine (Issue 06) and were highlighted by Creative Concierge Services in their Subtle-Arts blog for the Mid + West series. Her work was also featured in South x Southeast Magazine in the April/May issue. For Earth Day, a selection of her images was included in a special exhibition curated by Laurie Freitag through L.A. Photo Curator. Additional features included articles in Stir World Magazine and Aesthetica Magazine (Issue 105: Points of View). Two of Jantzen’s images were also selected to illustrate an article in the January/February issue of the Harvard Business Review.
www.instagram.com/ellenjantzen/
Ellen is currently represented by Susan Spiritus of the Susan Spiritus Gallery: www.susanspiritusgallery.com
Edition One Gallery, Santa Fe, NM /www.editiononegallery.com/#/
Kathryn Dunlevie/Detail From a Work in Progress
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
Kimberly Schneider /Baked Hibiscus (aka Mixed-Media #2)
Honorable Mention
Honorable Mention
Kimberly J. Schneider
I have been dedicated to the art of the handmade print for nearly half of my life. However, prior to 2020, I identified exclusively as a lens-based silver gelatin/photographic artist (who also dabbled in poetry, jewelry making, and printmaking), and traveled out west as often as possible, to make film photographs of the hauntingly beautiful land and seacapes, found in those locations.
These days, I identify as a visual artist, who specializes in both traditional and very experimental analog photographic (and some mixed media/art as healing) processes, as well as literal and figurative landscape photographs (and both lens-based and cameraless photography). And yes, I am still dedicated to all things silver gelatin, as well as trying to fund my next art making/material collecting trips out west (and the making of my Haunted series, which I'm slowly printing in an hourly rental darkroom, while between home darkrooms, in NYC).
My deep dive into the world of experimental photography began as a happy accident, and commenced in my previous home darkroom, which was not quite halfway finished when the pandemic began. I made my first cameraless photographs with handheld light sources in June 2020. Four bodies of cameraless work (and three years) later, the landscape found its way into my photograms, as the visual textures (created by some of my experimental self-designed processes with ice, sand, flowers, and more) began to resemble erosion, as well as the textures of some of my favorite locations to make film photographs, in the western US.
As luck or perhaps fate would have it, I was invited to teach a brief photograms class in the San Diego area, in July 2023 (related to an exhibition I also had work in). While there, I became inspired to collect location-specific materials from Winsansea Beach; before I left town, I collected as much beach sand, Pacific Ocean water, seaweed, and more, that I could fit into the containers I had with me, and shipped them to myself in NYC, specifically for my first San Diego sculpted 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 prior to moving, I began testing out San Diego lumen processes with the very same materials, while winging using a big LED panel as a light source. Thankfully the process translated well and that very first lumen (along with my second or third 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 UV light box, which I received in July of that year.
My experiments with cyanotype chemistry began the following month, while preparing to teach a cyanotypes class, 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 a year of experimenting with painted cyanotypes and lumen-chemigrams, I became inspired to create a new process, and also started working with some Brooklyn materials.
In late October 2025, I began experimenting with various forms of hibiscus - from deeply concentrated hibiscus tea to pulpy hibiscus chunks to loose dried pieces, and also (in some cases) incorporated painted cyanotype chemistry, watercolor paint, and other materials. (Some of these prints may not be as archival as others). While experimenting with these new processes, I also began testing out methods for creating a slightly 3-dimensional aspect to some of my colorful cameraless landscapes, which I did by baking in materials that wouldn't wash off during the print wash.
(None of my Impermanence series 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. However, there are ways of preventing the colors from shifting, as well as bigger versions of the originals, available by commission.)
I am presently working on 3 ongoing bodies of work (and have made 8 new bodies of work since 2020). I am submitting images from a variety of bodies of work that translate well with the theme, and are all closely related.
Artist Statement: Making photographs is a meditation of sorts, a search for truth, which I do both with and without cameras, and via a variety of analog photographic (and some self-designed experimental photographic/mixed media) processes. I am drawn to desolate land and seascapes and deeply inspired by the beauty and textures of the western U.S., though I live in New York.
All of my photographs are equivalent images or subconscious self-portraits, and I specialize in both literal and figurative landscape photographs. Regardless of the process I use to translate my vision, my work is simultaneously about what is visible to the naked eye and what is not, with the latter revealing itself during my analog printing processes, which also incorporate poetry that often comes to me in the darkroom. Further, making photograms with sand, ocean water, snow, and ice, among other materials, opened my eyes to what a landscape photograph could be as a unique art object...
I fell into photography by way of eastern religions, and the latter quickly found its way into my processes and never left. There is essentially no separation between my life/myself and my prints, which I think of as visual poems or spiritual landscape photographs.
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 and exhibits her personal work regularly. She also enjoys working with private photography and art as healing students, printing for other photographic artists/enthusiasts, and collaborating with others in various capacities.
Kimberly's work has been in notable exhibitions at Center for Photographic Art (CPA), 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.
Schneider's work is currently featured in issue 14 of Aeonian Magazine and her first Healing Beauty course will open for registration in March 2026. (She designed three versions of this class, so one one would be excluded from art as healing during these troubling times.)
Recent Exhibitions and Written Contributions:
From December 2025 - January 2026, Kimberly 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, Kimberly Schneider's Dark Rooms, 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
IMAGE FOR SALE:
request
"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
Contact: Kimberly Schneider
Email:kimberly@kimberlyjschneider.com
www.kimberlyjschneider.com
www.instagram.com/kimberlyjschneiderphotography/
Facebook Photo page: https://www.facebook.com/kimberlyjschneiderphotography
----------------------------------
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
I have been dedicated to the art of the handmade print for nearly half of my life. However, prior to 2020, I identified exclusively as a lens-based silver gelatin/photographic artist (who also dabbled in poetry, jewelry making, and printmaking), and traveled out west as often as possible, to make film photographs of the hauntingly beautiful land and seacapes, found in those locations.
These days, I identify as a visual artist, who specializes in both traditional and very experimental analog photographic (and some mixed media/art as healing) processes, as well as literal and figurative landscape photographs (and both lens-based and cameraless photography). And yes, I am still dedicated to all things silver gelatin, as well as trying to fund my next art making/material collecting trips out west (and the making of my Haunted series, which I'm slowly printing in an hourly rental darkroom, while between home darkrooms, in NYC).
My deep dive into the world of experimental photography began as a happy accident, and commenced in my previous home darkroom, which was not quite halfway finished when the pandemic began. I made my first cameraless photographs with handheld light sources in June 2020. Four bodies of cameraless work (and three years) later, the landscape found its way into my photograms, as the visual textures (created by some of my experimental self-designed processes with ice, sand, flowers, and more) began to resemble erosion, as well as the textures of some of my favorite locations to make film photographs, in the western US.
As luck or perhaps fate would have it, I was invited to teach a brief photograms class in the San Diego area, in July 2023 (related to an exhibition I also had work in). While there, I became inspired to collect location-specific materials from Winsansea Beach; before I left town, I collected as much beach sand, Pacific Ocean water, seaweed, and more, that I could fit into the containers I had with me, and shipped them to myself in NYC, specifically for my first San Diego sculpted 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 prior to moving, I began testing out San Diego lumen processes with the very same materials, while winging using a big LED panel as a light source. Thankfully the process translated well and that very first lumen (along with my second or third 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 UV light box, which I received in July of that year.
My experiments with cyanotype chemistry began the following month, while preparing to teach a cyanotypes class, 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 a year of experimenting with painted cyanotypes and lumen-chemigrams, I became inspired to create a new process, and also started working with some Brooklyn materials.
In late October 2025, I began experimenting with various forms of hibiscus - from deeply concentrated hibiscus tea to pulpy hibiscus chunks to loose dried pieces, and also (in some cases) incorporated painted cyanotype chemistry, watercolor paint, and other materials. (Some of these prints may not be as archival as others). While experimenting with these new processes, I also began testing out methods for creating a slightly 3-dimensional aspect to some of my colorful cameraless landscapes, which I did by baking in materials that wouldn't wash off during the print wash.
(None of my Impermanence series 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. However, there are ways of preventing the colors from shifting, as well as bigger versions of the originals, available by commission.)
I am presently working on 3 ongoing bodies of work (and have made 8 new bodies of work since 2020). I am submitting images from a variety of bodies of work that translate well with the theme, and are all closely related.
Artist Statement: Making photographs is a meditation of sorts, a search for truth, which I do both with and without cameras, and via a variety of analog photographic (and some self-designed experimental photographic/mixed media) processes. I am drawn to desolate land and seascapes and deeply inspired by the beauty and textures of the western U.S., though I live in New York.
All of my photographs are equivalent images or subconscious self-portraits, and I specialize in both literal and figurative landscape photographs. Regardless of the process I use to translate my vision, my work is simultaneously about what is visible to the naked eye and what is not, with the latter revealing itself during my analog printing processes, which also incorporate poetry that often comes to me in the darkroom. Further, making photograms with sand, ocean water, snow, and ice, among other materials, opened my eyes to what a landscape photograph could be as a unique art object...
I fell into photography by way of eastern religions, and the latter quickly found its way into my processes and never left. There is essentially no separation between my life/myself and my prints, which I think of as visual poems or spiritual landscape photographs.
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 and exhibits her personal work regularly. She also enjoys working with private photography and art as healing students, printing for other photographic artists/enthusiasts, and collaborating with others in various capacities.
Kimberly's work has been in notable exhibitions at Center for Photographic Art (CPA), 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.
Schneider's work is currently featured in issue 14 of Aeonian Magazine and her first Healing Beauty course will open for registration in March 2026. (She designed three versions of this class, so one one would be excluded from art as healing during these troubling times.)
Recent Exhibitions and Written Contributions:
From December 2025 - January 2026, Kimberly 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, Kimberly Schneider's Dark Rooms, 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
IMAGE FOR SALE:
request
"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
Contact: Kimberly Schneider
Email:kimberly@kimberlyjschneider.com
www.kimberlyjschneider.com
www.instagram.com/kimberlyjschneiderphotography/
Facebook Photo page: https://www.facebook.com/kimberlyjschneiderphotography
----------------------------------
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
