Barbara Wilson says, "I just like the magic of photography and where you can go with it with alternative processes."

Barbara Wilson has received significant recognition for her work, including a feature in The New York Times for her one-person show, “Inner Images,” at the Stepping Stone Gallery in Huntington. This exhibition showcased her pinhole photographs manipulated in Adobe Photoshop and printed in intaglio using Solarplates. Her approach to photography has also earned her the Critic’s Picks Winner award from Manhattan Arts for her photo silk screen work.

Wilson’s work has been featured in numerous exhibitions, including alumni shows at Moore College of Art and the Visual Studies Workshop. Her art has been showcased at prestigious venues such as Philadelphia College of Art, Adelphi University, Pratt Graphic Center, and Guild Hall. 

She has also participated in international exhibitions like “La Semana de Fotographia” in Brazil and “Photography: Rochester N.Y.” in Paris. Her notable exhibitions include “The Expanded Photograph,” “Synthetic Color,” “Women Look At Women,” and “Censorship” in Chicago. Wilson has received the Juror’s Award at the Photographer’s Eye Collective and has been involved in many shows connected with the New York Society of Etchers.

She has been awarded the New York State CAPS Grant in the Photography Division and the P.A.B. Memorial European Fellowship from Moore College of Art. 

Her work has been published in a variety of respected publications, including Printmaking in the Sun, Saturday Review, Stud & Stable (cover), Book of Record Jackets, Album, Options for Color Separation, Manhattan Arts, Malverne Times, Far Horizons Newsletter, New York Times, Presbyterian Times, East Hampton Star, and John Oates’ autobiography Change of Seasons, as well as numerous show catalogues.

Images not for sale.

Eve's Apple - (7X10 inches) pinhole photograph printed with gum bichromate 

Eve's Reach - (7X10 inches) pinhole photograph printed with gum bichromate

Eve's Hidden Apple (4.5X7 inches) - digital photograph printed with Van Dyke Brown

Monk #2 - (5X7 inches) pinhole photograph printed on albumen paper with silver nitrate

Monk # 7 - (5X7 inches) pinhole photograph printed on albumen paper with silver nitrate

Monk #15 - (5X7) pinhole photograph printed on albumen paper with silver nitrate





 

Birgit Maddox says,
“Communication with nature is the oldest, deepest form of spiritual practice, connecting us to our ancient ancestral knowledge.

My continuous quest is to tap into the power of the elements, the mystery and what connects humanity with the natural world.

I am most fascinated by mystery. The hidden - the obscure - the ethereal and otherworldly. The moment that lets you dive into another dimension. I want to go beyond what the eye can see.

Through long exposure and the distortion of a wide angle pinhole I embarked on a year-long journey of self portraits. It revealed a connection between myself and my photography. The result is a series called: EPOCH EPHEMERAL with over one hundred photographs. Photographer Kim Weston describes this work as “an orchestration of love, loss, fear—a passion that runs the gamut of emotion.

The process for each of the images is the same. I shoot 120 roll film in my ONDU Pinhole camera. I scan the images and make digital negatives for Platinum Palladium Prints or use the scans to print Archival Pigment Prints on Natural Rag paper. I then cut mats and mount them. Out of the submitted images only the Portal is printed as a Platinum Print. The others are Archival Pigment Prints.
IMAGES FOR SALE-

THE PORTAL 7.5” x 3.25 (matted 11” x 14”)
Medium: Platinum Palladium Print
Price: $600 (unframed)
Limited edition of 25
Signed on back


Bride of Christ 30” x 13,5” (unmated)
Medium: archival print 
Price: $1,700 (unframed)
Limited edition of 5
Signed on back
Contact: Birgit Maddox bmaddox@maddoxdesign.net

www.birgitmaddox.com
www.instagram.com/birgit_maddox 

 

Caroline Waterman says, "The north side of Dublin is my home. It is where I grew up, where I learned to love, to play and dance. It is also where I was raped. I have spent the past 30 years of my life shutting out the assault from my memory… and learning to forget. Although I’ve made my life on another continent, I’ve returned to my home many times over the past three decades, never allowing the demons to take away my joy of returning home and my love for Dublin. Now, in this work and narrative, I have decided to remember, to confront….to heal. 
 
This photographic work is a collection of self-portraits, memories and a confrontation with a once-unspoken history:
The venerable old secondary school, tired, sleepy, but still there.
The shortcut to school, once a swampy field, now a playground.
The field behind the houses, the secret place, the dark place. 
The village church, available to all, yet closed.
And the convent, the refuge, the Magdalene prison. 
The stifled survivor, silent no more."

Caroline Waterman moved to the United States in 1986 and lives in Charlotte, NC with her husband and three children.   She took film photography classes in Dublin in the 1980s and again in Boston; she completed her BFA in Photography at UNCC in May 2016 and her MFA in Photography at Lesley University in May 2024.  

While at UNCC, Caroline explored various historical processes and concentrated on large-format analog photography.   

Caroline specializes in Silver Gelatin Lith, Platinum Palladium, and Gum Bichromate printing.

Her work deals with the themes of memory and loss, and she has drawn on her connections to family, heritage, and place as inspiration.

She has conducted workshops on Lith printing at UNCC, at Appalachian State University and the Light Factory. She has also conducted Platinum Palladium workshops at UNCC and the Light Factory.  

Caroline has exhibited her work at UNCC, The Photo Place Gallery in Vermont, The South East Center for Photography in Greenville, SC, the Photosynthesis Gallery in Connecticut, and ECU.

Caroline had her first solo show at Through This Lens Gallery in Durham, NC, in September 2017, and she has participated in group shows at C3lab and Goodyear Arts in Charlotte.

Caroline recently exhibited her work in a two-person show at the Arts Canter of Kershaw County and the Tone exhibit at the Cabarrus Arts Council. 

Images for Sale-

A Reckoning, untitled #1 20x20
Platinum palladium Print on HPR
$900 8ply matt
Signed on the back

A Reckoning, untitled #3 20x20
Platinum palladium Print on HPR
$900 8ply matt
Signed on the back

A Reckoning, untitled #4 20x20
Platinum palladium Print on HPR
$900 8ply matt
Signed on the back

A Reckoning, untitled #6 20x20
Platinum palladium Print on HPR
$900 8ply matt
Signed on the back

A Reckoning, untitled #8 20x20
Platinum palladium Print on HPR
$900 8ply matt
Signed on the back

A Reckoning, Self-portrait  #3 20x24
Platinum palladium Print on HPR
$900 8ply matt
Signed on the back

Contact:
Caroline Waterman
carolinewaterman@gmail.com

www.carolinewaterman.com

 

Cat Marcogliese says of her series,
'Kintsuture: Fallen (2024/Photo collage, gold thread/Various formats',
"It is evident that our natural environment is suffering—climate change, deforestation, coastal erosion—the list is long and alarming. 

This series is a metaphor for repairing our damaged environment. The title, Kintsuture, is an amalgam of two different approaches to regeneration. The first is a reference to medical suturing – the sewing together of torn-apart bodies in order to heal wounds.

There are many instances where we see wrecked landscapes and gaping holes in the earth’s surface that demand our attention and care. In the photos that I use, I look for ruptures in the landscape, for example, cracked rock surfaces, burnt tree bark, or signs of industrial incursions such as quarries. I then sew along the lines marked out by the fissures or sew together disparate pieces of landscape.

Kintsuture also refers to the Japanese technique of Kintsugi, which is the tradition of repairing broken porcelain with gold glue. The damaged object is thus transformed into something more beautiful. The cracks in the porcelain delineated by the gold accentuate both the destruction and the mending of the object and its regeneration into something else.

This idea of repairing with a precious element is reflected in the gold thread, which weaves a unifying web over the surface of the photos. 

The series Fallen reflects a more intimate expression of my Kintsuture work. I collect and photograph desiccated fallen leaves, which I then embroider following their torn and scarred surfaces, underlining their fragility. The photos are crumpled, like the actual leaves, which adds volume to the collage. The delicate natural patterns on the leaves form the perfect guide for the needlework – a template for the passage of time. The leaves are presented in piles as though they had just been raked up or individually like botanical specimens preserved in box-like frames.

I treat nature as a living, breathing organism that needs care and attention. The manual intervention in this work with the intricate gold stitching is an act of healing, of allowing the image to breathe.

I began my artistic career in painting after obtaining a BFA (Painting and Art History) at Concordia University in Montreal. Since my arrival in France, where I now reside, my work has been concerned with the definition of the notion of the “real” in visual representation. Early on, this involved integrating 3-dimensional objects in my works, but later, with an obvious logic, I turned to photography. Combining found objects and photographs, I employed a multimedia approach that allowed me to question not only the notion of the real but also the role of photography in contemporary art.

Today, my work is primarily photographic in nature. In conserving the plastic elements of painting, such as form, line, or colour, I manipulate my images in an attempt to push photography beyond a straightforward narrative representation in order to arrive at a freedom of expression which is more emotive and personal.

Consistently throughout the evolution of my career, landscape has been my subject of choice, and specifically, our relationship to our environment. Fundamental in my treatment of landscape is that our view of nature is never direct but is always construed from the perspective of our modern lives.

Ultimately, it is impossible to separate our idea of nature from the context of living in modern urban society, from cultural influences, and our knowledge concerning the precarious state of nature in the twenty-first century. 

My career highlights include a solo show of my work on Mediterranean salt flats, saltPERMUTATIONS, at the Batterie du Cap Nègre, Six Fours, France, in 2023.

Also, in 2023, I participated in the dance, music, and photography performance of the piece Intentions Fragmentaires presented at the Agora pour la Danse in Montreal. Since 2019, I have also used the Talbot technique of salt prints for my work on salt flats. This work has been shown in several exhibitions, including the photo festival Présence(s) in Montélimar in 2020.

In 2016, I was included in two group shows in the United States: The Frontier at The Center, Santa Fe, and Haunted at the Darkroom Gallery in Essex Junction, Vermont.

The series which I have presented here, Kintsuture - Fallen, will be shown in a solo show at the Galerie du Tableau in Marseille in November 2024 and at the Maison du Patrimoine in Six Fours, France in 2025."

https://en.marcogliese.org/
https://www.instagram.com/cathymarc0/
 

Charlotta Hauksdottir says, "My work seeks to evoke contemplation about our relationship with the environment.

For two decades, I've photographed landscapes of my native Iceland, witnessing firsthand the impacts of climate change.

This ongoing project is a visual articulation of these changes and by hand-cutting photographs and layering, the work simulates the physical features of the landscape.

Some pieces have removed sections of photographs, layered on top of black fabric, representing the erosion of nature, or text from an essay on global warming, serving as a reminder of the dangers we confront.

Recently nature's resilience has become a source of inspiration. Drawing from the persistence of life growing from concrete cracks, I cut and layer photographs in a similar pattern. Those pieces signify renewal and hope, a visual testament to nature's remarkable ability to endure. I am also intertwining branches wrapped with photographs, weaving together elements of the landscape. Symbolizing both the devastation wrought upon nature and the potential for proactive human intervention."

Charlotta María Hauksdóttir is an award winning visual artist based in California, who uses photography, collage and mixed media in her work.

Residing in the USA for over 20 years, she still draws inspiration from her home country Iceland.

Her work centers around the unique connection one has to places and moments in time, and how memories embody and elevate those connections.

Hauksdóttir received a BA in Photography from the Istituto Europeo di Design in Rome, Italy and an MFA from the San Francisco Art Institute.

She also holds a Diploma in Creative and Critical Thinking from the Iceland Academy of the Arts.

Her work has been exhibited around the world, with solo exhibitions in the USA, Russia, and Iceland as well as numerous group shows and photography festivals.

Her photographs have been published in several magazines and books, as well as a monograph “A Sense of Place - Imprints of Iceland” published by Daylight Books that is in the collection of the Art Institute of Chicago, SFMOMA, and Princeton among others.

Hauksdóttir’s work is also part of numerous private and public collections such as Stanford Health Care and Reykjavik Museum of Photography.

Images for Sale-

Erosion XIV - 14"H x 22" W
Archival paper, hand cut and layered with mixed media
$1400 unframed
Limited edition of 5
Signed on back

Erosion XIX - 14"H x 22" W
Archival paper, hand cut and layered with mixed media
$1400 unframed
Limited edition of 5
Signed on back

Reclamation IV - 16"H x 20" W
Archival paper, hand cut and wrapped around branches sewed together
$2200 unframed
Limited edition of 5
Signed on back

Reclamation VII - 8"H x 16" W
Archival paper, hand cut and wrapped around branches sewed together
$1800 unframed
Limited edition of 5
Signed on back

Resurgence IV - 14"H x 22" W
Archival paper, hand cut and layered with mixed media
$1400 unframed
Limited edition of 5
Signed on back

Resurgence IX- 14"H x 22" W
Archival paper, hand cut and layered with mixed media
$1400 unframed
Limited edition of 5
Signed on back

Contact-
Charlotta Hauksdottir 
charlottamh@gmail.com

www.charlottamh.com
www.instagram.com/charlottamh

Collins Walker says, "My photomontages, primarily composed of full-sized 6x4” prints, are notably large. For instance, the monumental Sycamore Canyon is an eleven-foot-wide triptych mounted on painted plywood flats. The size of these works immerses viewers, making them feel as though they are part of the scene.

However, their scale can pose logistical challenges. Recently, my piece Russian Gulch Bridge was accepted into a show by the New Orleans Photo Alliance in Louisiana. It was too large for standard shipping methods from Los Angeles, necessitating freight shipping. Upon arrival, the package appeared to have been severely mishandled, with parts of the plywood base punctured. Fortunately, I had planned to arrive a few days before the exhibition and was able to repair the damaged sections in time for the show.

Creating one of these photomontages involves several stages, each contributing to the final piece. The first stage is photography, where I carefully compose the scene, ensuring comprehensive coverage of the foreground, sky, and main subject. This stage involves the usual photographic techniques, such as camera and lens selection, exposure, shutter speed, and depth of field. It also requires seizing opportunities as they arise. For example, when photographing the Goodyear Blimp, I captured images from both sides as it swung in the wind, resulting in a montage that appears to show two blimps.

The second stage is composition. I view this process as painting with photographs, an evolving dialogue that can take weeks. The final artwork often diverges significantly from the original scene, as I respond to what the piece seems to require. 

The final stage is assembly, where the composition, initially held together with Scotch tape, is permanently affixed from the back. This meticulous, labor-intensive process is akin to quilting or building ships in bottles. The complete picture is only revealed once assembly is finished, the temporary tape is removed, and any necessary trimming is done before mounting it on a masonite panel or plywood flat.

My journey with photomontage spans decades, exploring the intersection of photography and painting. Inspired by David Hockney, who popularized this style of work, my works often consist of hundreds of individual photographs, each completed photomontage is a unique achievement."

Collins Walker has a BA in Journalism from the University of South Carolina.  He worked in film and television in Los Angeles since 1977 for such companies as Efilm, Hammer Creative and Intralink.  He has been retired since 2014 when he committed most of his time to focusing more on his work in art.  In the past Walker has studied photography under Don Wooley, Steve Cohen, Linda Troller, and Van Ditthavong.  He has studied Art and painting under Florence Shennan, Nell Lafaye and Rachel Rosenthal.  He has also studied film making at U of SC and UCLA. He is currently being exhibited at the New Orleans Photo Alliance in the show “When Collage and Photography Meet.”  Walker lives in Los Angeles and has been married for 40 years to fellow artist Keven Barrett. They have two adult sons.

Since these are primarily large artworks, no prints are available at this time.  Serious collectors interested in buying the original artworks may contact me directly at collins.walker@verizon.net.

www.photojoiners.com
www.instagram.com/collinswalkerart

Debbie and Dennis Segers are a husband and wife-team. Dennis is a landscape photographer and alternative process printer. Beginning with his prints, Debbie works in a variety of mediums including photo oils, watercolor pencil, or pastels to produce the final works.

Image List:

Shoreline Flora
11x14
Hand-colored Platinum / Palladium print on Hahnemuhle Platinum Rag
$350
Signed on back

Wiemea Canyon
11x14
Hand-colored Platinum / Palladium print on Hahnemuhle Platinum Rag
$350
Signed on back

Reflections
11x14
Hand-colored Platinum / Palladium print on Hahnemuhle Platinum Rag
$350
Signed on back

Ancient Pine
11x14
Hand-colored Platinum / Palladium print on toned Hahnemuhle Platinum Rag
$350
Signed on back

At Waters Edge
11x14
Hand-colored archival pigment print on FineArt Baryta paper
$350
Signed on back

Point Lobos Sunset
11x14
Hand-colored archival pigment print on FineArt Baryta paper
$350
Signed on back

Contact: dennis.segers@comcast.net

www.dennissegers.myportfolio.com 

 

-------------------------------------------
THE HANDMADE TALE HOME PAGE
https://laphotocurator.com/the-handmade-tale

FIRST PLACE
https://laphotocurator.com/the-handmade-tale-debra-achen-diana-h-bloomfield/first-place-frani-evedon-two-bags-packed-4/1

SECOND PLACE
https://laphotocurator.com/the-handmade-tale-debra-achen-diana-h-bloomfield/second-place-charlotta-hauksdottir-reclamation-iv/1

HONORABLE MENTIONS
https://laphotocurator.com/the-handmade-tale-debra-achen-diana-h-bloomfield/honorable-mention-matt-connors-rue-des-chapeliers-natalie-obermaier-pasha-orin-rutchick-boys-teri-figliuzzi-renew-nicola-hackl-haslinger-the-invitation-ii/1

BEST SERIES
https://laphotocurator.com/the-handmade-tale-debra-achen-diana-h-bloomfield/best-series-linda-plaisted-kintsugi-altarpiece-series/1

EXHIBITION #1
https://laphotocurator.com/the-handmade-tale-debra-achen-diana-h-bloomfield/exhibition-1/1

EXHIBITION #2
https://laphotocurator.com/the-handmade-tale-debra-achen-diana-h-bloomfield/exhibition-2/1

EXHIBITION #3
https://laphotocurator.com/the-handmade-tale-debra-achen-diana-h-bloomfield/exhibition-3/1

EXHIBITION #4
https://laphotocurator.com/the-handmade-tale-debra-achen-diana-h-bloomfield/exhibition-4/1

EXHIBITION #5
https://laphotocurator.com/the-handmade-tale-debra-achen-diana-h-bloomfield/exhibition-5/1