Exhibition #3
Prescott Moore Lassman/Al Fresco Bathtub
F I R S T P L A C E
F I R S T P L A C E
Prescott Moore Lassman/Abyss
Prescott Moore Lassman/Manufactured Path
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Prescott Moore Lassman/Peering Into the Abyss
Prescott Moore Lassman/Reykjadalur Geothermal Stream
Prescott Moore Lassman/Strangers On a Lonely Path
FIRST PLACE IMAGE: "AL FRESCO BATHTUB" BY PRESCOTT MOORE LASSMAN
IMAGE REVIEWS BY JURORS DEBE ARLOOK & FRED BRASHEAR JR.
"In reviewing our submissions, Al Fresco Bathtub was a standout. The traditional use of medium format and black-and-white film is the foundation for its bold chiaroscuro, adding numerous and curiously poetic suggestions to the scene. I’m kept in the flawlessly framed image, led to the homestead (and possible landowner) at the top of the frame, returning to linger with the overflowing freshwater tub and ponder in the waiting seat. Was the setting found or frequented by the photographer? I envision the bathers, sitters, readers, and smokers, as well as the meditators and writers who have sought this everchanging sanctuary over time. Balanced in this mixture of natural and manmade, I’m all in on the mystery and leave the tale I wanted to know to wonder."
JURORS: "In the vast history of landscape photography, who has been most influential in your approach to photographing the landscape?"
PML: "This is a difficult question for me to answer because I do not view myself as a landscape photographer and thus do not know much about landscape photographers other than icons like Ansel Adams and Edward Burtynsky. Instead, I view myself more as a documentary or street photographer who sometimes makes forays into landscape photography. My main influences in that sphere are old-school black & white photographers like Andre Kertesz, Eugene Smith, Diane Arbus, and Weegee. Thus, if I had to pick a landscape photographer who has been influential to me, I’d have to choose another street photographer who also has made rare forays into landscape photography: Joel Meyerowitz. Meyerowitz’s Cape Light is still one of my all-time favorite photography books because of the stillness, balance, and drama in its quiet photographs of the Cape Cod landscape."
JURORS: "With the abundance of digital photography, why did you choose to use the analog process, and how did it enhance your telling of the story?"
PML: "My use of analog photography was more by happenstance than by choice. Although digital photography has been available for decades, I did not really begin shooting digital (other than on my iPhone) until 2022, when I purchased my first digital camera. These photographs were made in the summer of 2021 during a trip to Iceland during the pandemic. I hadn’t shot deliberately in over a decade but I decided to use the trip to get back into photography more seriously again, so I picked up my old Hasselblad to see what would happen. I love the square format, which is extremely rare in landscape photography, and the ability to print the photographs with a black frame around them. In the context of this photo series, the black frame is critical, as it symbolizes the Ring Road around Iceland that we traveled, making each photography a small island unto itself."
JURORS: "It looks like it was shot in medium format, meaning more time and selective effort had to be made in what you were photographing in this environment."
PML: "Yes, the photographs were shot with a Hasselblad medium format camera. It was quite a challenge lugging the camera around Iceland, including on a hike onto a glacier, and to fit the vast Icelandic landscape into a square format. But there was also something meditative about the process, and I was surprised and delighted by the results. As mentioned above, I’ve never thought of myself as a landscape photographer, but these photographs have encouraged me to take more landscape photographs."
MORE ABOUT PRESCOTT MOORE LASSMAN:
Prescott Moore Lassman says, "I am a photographer based in Washington, D.C. focusing mainly on black-and-white photography — somewhere between street and documentary with a strong dose of minimalism for good measure. My subject matter and interests are eclectic, but my approach is mostly intuitive. I search for images that resonate, for moments of synchronicity in everyday life. Because this approach relies on unconscious triggers, my photographs are often richly symbolic, though their meaning is not immediately clear (at least not to me). For me, this is the essence of photography: capturing an image that resonates and then, over the course of months or years, figuring out why.
“Around the Ring” documents my trip to Iceland to drive the Ring Road during the height of the COVID-19 pandemic in 2021. The tiny island country, with its otherworldly landscapes and laissez-faire attitude, was a breath of fresh air after 18 months of lockdown. Because these images were captured in the middle of the COVID-19 pandemic, however, they seem less about the external Icelandic landscapes - stunning as they are - and more about my own internal landscape as I struggled to adjust to this new world order. For me, like for many people, the pandemic forced me to reassess the trajectory of my life. It triggered an internal change that is still unfolding. I feel like one chapter in my life is beginning to end and another just beginning. The photographs in this series thus evince a mixture of both wonder and apprehension — about a new path, changing circumstances, and an unknown future that, at the beginning of the journey, can only be glimpsed hazily through squinted eyes. There is a mix of both exhilaration and fear as one is suspended between two worlds, wondering what comes next. Because Iceland itself seems suspended between worlds, it was a perfect backdrop for these images."
Career Highlights include City Hall Art Collection, Washington, DC,
Individual Artist Fellowship, DCCAH, Washington, DC,
First Place, The Human Spirit, LA Photo Curator, Best In Show, Exposed DC 17th and 18th Annual Photo Show, Washington, DC,The Photo Review 2023 Competition
and the Woodmere Art Museum, Philadelphia, PA.
www.instagram.com/lassman_lenswork
IMAGE REVIEWS BY JURORS DEBE ARLOOK & FRED BRASHEAR JR.
"Congratulations, your image Al Fresco Bathtub is a wonderful example of the timeless quality of analog photography. Your composition and presentation of the uncropped image are a strong indication of the level of execution and professionalism as the first-place winner for Time and Wisdom of the Land. Often incorporating analog photography in my own artistic practice, I appreciate the edge-to-edge detail of medium format cameras. The square format was an artistically strong choice for the scene you photographed. Congratulations once again on your beautiful capture of the landscape for Time and Wisdom of the Land."
-FRED BRASHEAR JR.
-FRED BRASHEAR JR.
"In reviewing our submissions, Al Fresco Bathtub was a standout. The traditional use of medium format and black-and-white film is the foundation for its bold chiaroscuro, adding numerous and curiously poetic suggestions to the scene. I’m kept in the flawlessly framed image, led to the homestead (and possible landowner) at the top of the frame, returning to linger with the overflowing freshwater tub and ponder in the waiting seat. Was the setting found or frequented by the photographer? I envision the bathers, sitters, readers, and smokers, as well as the meditators and writers who have sought this everchanging sanctuary over time. Balanced in this mixture of natural and manmade, I’m all in on the mystery and leave the tale I wanted to know to wonder."
-DEBE ARLOOK
QUESTIONS FOR PRESCOTT MOORE LASSMAN FROM THE JURORS:
JURORS DEBE ARLOOK & FRED BRASHEAR JR. : "In the vast history of landscape photography, who has been most influential in your approach to photographing the landscape?"
PRESCOTT MOORE LASSMAN: "With the abundance of digital photography, why did you choose to use the analog process, and how did it enhance your telling of the story? It looks like it was shot in medium format, meaning more time and selective effort had to be made in what you were photographing in this environment."
PRESCOTT MOORE LASSMAN: "With the abundance of digital photography, why did you choose to use the analog process, and how did it enhance your telling of the story? It looks like it was shot in medium format, meaning more time and selective effort had to be made in what you were photographing in this environment."
JURORS: "In the vast history of landscape photography, who has been most influential in your approach to photographing the landscape?"
PML: "This is a difficult question for me to answer because I do not view myself as a landscape photographer and thus do not know much about landscape photographers other than icons like Ansel Adams and Edward Burtynsky. Instead, I view myself more as a documentary or street photographer who sometimes makes forays into landscape photography. My main influences in that sphere are old-school black & white photographers like Andre Kertesz, Eugene Smith, Diane Arbus, and Weegee. Thus, if I had to pick a landscape photographer who has been influential to me, I’d have to choose another street photographer who also has made rare forays into landscape photography: Joel Meyerowitz. Meyerowitz’s Cape Light is still one of my all-time favorite photography books because of the stillness, balance, and drama in its quiet photographs of the Cape Cod landscape."
JURORS: "With the abundance of digital photography, why did you choose to use the analog process, and how did it enhance your telling of the story?"
PML: "My use of analog photography was more by happenstance than by choice. Although digital photography has been available for decades, I did not really begin shooting digital (other than on my iPhone) until 2022, when I purchased my first digital camera. These photographs were made in the summer of 2021 during a trip to Iceland during the pandemic. I hadn’t shot deliberately in over a decade but I decided to use the trip to get back into photography more seriously again, so I picked up my old Hasselblad to see what would happen. I love the square format, which is extremely rare in landscape photography, and the ability to print the photographs with a black frame around them. In the context of this photo series, the black frame is critical, as it symbolizes the Ring Road around Iceland that we traveled, making each photography a small island unto itself."
JURORS: "It looks like it was shot in medium format, meaning more time and selective effort had to be made in what you were photographing in this environment."
PML: "Yes, the photographs were shot with a Hasselblad medium format camera. It was quite a challenge lugging the camera around Iceland, including on a hike onto a glacier, and to fit the vast Icelandic landscape into a square format. But there was also something meditative about the process, and I was surprised and delighted by the results. As mentioned above, I’ve never thought of myself as a landscape photographer, but these photographs have encouraged me to take more landscape photographs."
MORE ABOUT PRESCOTT MOORE LASSMAN:
Prescott Moore Lassman says, "I am a photographer based in Washington, D.C. focusing mainly on black-and-white photography — somewhere between street and documentary with a strong dose of minimalism for good measure. My subject matter and interests are eclectic, but my approach is mostly intuitive. I search for images that resonate, for moments of synchronicity in everyday life. Because this approach relies on unconscious triggers, my photographs are often richly symbolic, though their meaning is not immediately clear (at least not to me). For me, this is the essence of photography: capturing an image that resonates and then, over the course of months or years, figuring out why.
“Around the Ring” documents my trip to Iceland to drive the Ring Road during the height of the COVID-19 pandemic in 2021. The tiny island country, with its otherworldly landscapes and laissez-faire attitude, was a breath of fresh air after 18 months of lockdown. Because these images were captured in the middle of the COVID-19 pandemic, however, they seem less about the external Icelandic landscapes - stunning as they are - and more about my own internal landscape as I struggled to adjust to this new world order. For me, like for many people, the pandemic forced me to reassess the trajectory of my life. It triggered an internal change that is still unfolding. I feel like one chapter in my life is beginning to end and another just beginning. The photographs in this series thus evince a mixture of both wonder and apprehension — about a new path, changing circumstances, and an unknown future that, at the beginning of the journey, can only be glimpsed hazily through squinted eyes. There is a mix of both exhilaration and fear as one is suspended between two worlds, wondering what comes next. Because Iceland itself seems suspended between worlds, it was a perfect backdrop for these images."
Career Highlights include City Hall Art Collection, Washington, DC,
Individual Artist Fellowship, DCCAH, Washington, DC,
First Place, The Human Spirit, LA Photo Curator, Best In Show, Exposed DC 17th and 18th Annual Photo Show, Washington, DC,The Photo Review 2023 Competition
and the Woodmere Art Museum, Philadelphia, PA.
www.instagram.com/lassman_lenswork
Rich Armington/Apostle Island Sea Caves
Rich Armington/Canary Spring
Rich Armington/Handprints - Touching the Past
Rich Armington/Horseshoe Bend
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Rich Armington/Pictures from the Past
Rich Armington/Stories in Stone
Richard Armington says, "In a sense, I’m a documentary photographer. That is, I capture moments in time. “Life is a collection of moments strung together in a beautifully random order”, Kurt Vonnegut writes in Slaughterhouse Five. In our daily lives we’re bombarded with a continuous stream of events that demand our attention preventing us from truly experiencing these solitary moments. Yet when the camera’s shutter is released, a single moment is captured.
One might argue that we don’t create meaning in our lives, we find it. And in his book, Detecting the meaning of Life’s Moments, Alex Pattakos describes an exercise he calls Existential Digging as a way to find meaning in the moments that have impacted us. He suggests asking yourself four questions regarding significant events or moments in your life. As you do this, you will become familiar with detecting the meaning of life’s moments: 1) How did you respond to the situation or life experience? 2) How did you feel about the situation or life experience? 3) What did you learn from the situation or life experience? 4) How did/will you grow from the situation or life experience?
I seek images that celebrate/capture these fleeting moments, moments when one stops to just be here now. They are to me, what Henri Cartier Bresson called ‘decisive moments’. Primarily, I explore our connection with nature and the planet we live on. I invite you to explore the moments I’ve captured and to do some existential digging of your own, into the memories they evoke. In a way, I believe art is not the piece itself but the dialogue it inspires. And this dialogue whether internal or expressed is sparked by memories from which we derive life’s meaning. My hope is that as you view these images, you will pause and reflect on the awe and wonder of the journey you are on and the wonder of the world around us."
Richard received his BFA in photography from the University of New Mexico. At the time the Fine Art department was chaired by Van Deren Coke and he studied under the likes of Beaumont Newhall, Betty Hahn, Meridel Rubenstein, Tom Barrow, and Wayne Rod Lazorik. Upon leaving UNM he worked as a photojournalist, freelance photographer and staff photographer for a New Jersey college before leaving the profession to raise a family and pursue a carrier in the telecommunications and defense industries. During this time his work was shown in various galleries including the Trenton Artist Workshop Association shows at the Trenton Ellarslie Museum gallery, the Annual Phillips Mill juried art show and a solo show at Mercer County Community College. He has recently returned to the art community, focusing on photography as an artistic medium. While he works primarily digitally now, he continues to explore alternative photographic processes and, on occasion, still shoots medium and large format film.
All images are for sale – Contact artist
rarmingtonphoto@gmail.com
Mediums: Silver Halide, Fine Art Print (multiple papers available), Metal or Acrylic print, and more.
Presentation: Framed or Unframed
Size: Min. 11” x 14” image to Max. depends on master image resolution
Cost (examples): Silver Halide 12x18: print only $55 or Matted and Framed 20x24 $260
Digital rights and volume sales, request quote.
www.richarmingtonphotography.pic-time.com/art
One might argue that we don’t create meaning in our lives, we find it. And in his book, Detecting the meaning of Life’s Moments, Alex Pattakos describes an exercise he calls Existential Digging as a way to find meaning in the moments that have impacted us. He suggests asking yourself four questions regarding significant events or moments in your life. As you do this, you will become familiar with detecting the meaning of life’s moments: 1) How did you respond to the situation or life experience? 2) How did you feel about the situation or life experience? 3) What did you learn from the situation or life experience? 4) How did/will you grow from the situation or life experience?
I seek images that celebrate/capture these fleeting moments, moments when one stops to just be here now. They are to me, what Henri Cartier Bresson called ‘decisive moments’. Primarily, I explore our connection with nature and the planet we live on. I invite you to explore the moments I’ve captured and to do some existential digging of your own, into the memories they evoke. In a way, I believe art is not the piece itself but the dialogue it inspires. And this dialogue whether internal or expressed is sparked by memories from which we derive life’s meaning. My hope is that as you view these images, you will pause and reflect on the awe and wonder of the journey you are on and the wonder of the world around us."
Richard received his BFA in photography from the University of New Mexico. At the time the Fine Art department was chaired by Van Deren Coke and he studied under the likes of Beaumont Newhall, Betty Hahn, Meridel Rubenstein, Tom Barrow, and Wayne Rod Lazorik. Upon leaving UNM he worked as a photojournalist, freelance photographer and staff photographer for a New Jersey college before leaving the profession to raise a family and pursue a carrier in the telecommunications and defense industries. During this time his work was shown in various galleries including the Trenton Artist Workshop Association shows at the Trenton Ellarslie Museum gallery, the Annual Phillips Mill juried art show and a solo show at Mercer County Community College. He has recently returned to the art community, focusing on photography as an artistic medium. While he works primarily digitally now, he continues to explore alternative photographic processes and, on occasion, still shoots medium and large format film.
All images are for sale – Contact artist
rarmingtonphoto@gmail.com
Mediums: Silver Halide, Fine Art Print (multiple papers available), Metal or Acrylic print, and more.
Presentation: Framed or Unframed
Size: Min. 11” x 14” image to Max. depends on master image resolution
Cost (examples): Silver Halide 12x18: print only $55 or Matted and Framed 20x24 $260
Digital rights and volume sales, request quote.
www.richarmingtonphotography.pic-time.com/art
Sebastien Guillen/Ardeche #1
Sébastien Guillen says, "The camera revolutionized the world of art, especially painting, by offering a new way to capture reality with unparalleled precision and speed. This technical marvel pushed painting to explore new territories like abstraction, while photography itself evolved into a distinctive art form, moving beyond mere documentation.
When I first picked up a camera, it opened up an entirely new world for me. I realized it wasn’t just about freezing a moment in time; it was about using that moment to inspire and inform my artistic practice. The camera became more than just a tool for replication—it became a means of creation.
This shift in my approach led me to develop a series called "Camera Painting."
In "Camera Painting," I explore the intersection between photography and painting, particularly within the context of landscapes. I seek to answer the question: "How can a camera be used to create pictorial works that transcend mere representation?" Through this series, I experiment with the boundaries between these two mediums, blending the immediacy and accuracy of the camera with the expressive possibilities of painting.
Landscapes, with their vast and varied forms, have always fascinated me. They offer endless opportunities for exploration, both visually and conceptually. In my work, I use the camera to capture these natural scenes with precision, and then reinterpret them through my painting techniques. The result is a harmonious blend of photographic realism and painterly abstraction—a landscape that is both familiar and transformed, where each medium enriches the other."
Sébastien Guillen, born in Lyon, France, in 1971, embodies the essence of a diverse artist, now calling both Brooklyn, NY, and Milford, PA, home.
He started his artistic career as a musician, and his creative pursuits extend into the visual arts and academia. As a visual artist, composer, and educator of theory of knowledge, he tirelessly seeks a synthesis of sound, image, and contemplation.
Guided by Charles Baudelaire's poignant words, "you gave me your mud and I made it into gold," he revels in the notion that even the seemingly unappealing can serve as a conduit to unveil exquisite beauty. The ordinary, the mundane, the unnoticed, and even the repulsive possess the potential for transformation, ascending to the realm of the sublime. This is the artistic path he diligently carves.
His creations encourage spectators to reassess their perceptions of beauty by embracing unconventional materials and techniques (plexiglass, epoxy resin, digital photography, collage, etc.), as well as employing classical or alternative methods (cyanotype, anthotype, polaroid, photography, ink, etc.), and occasionally, a fusion of multiple approaches. The objective, however, remains constant: to exalt the hidden, inherently imminent beauty that surrounds us.
His photographic endeavors transcend the mere act of capturing images, instead offering profound insights into existential questions, both personal and universal. In an era inundated with imagery and technology, Guillen's work challenges conventional perceptions, presenting a nuanced and provocative exploration of the human condition.
Sébastien Guillen has been recognized as a finalist in the Fresh 2024 contest organized by the Klompching Gallery, located in the Brooklyn neighborhood of Dumbo, New York. Ten pages were dedicated to his work in issue 95 of the highly renowned contemporary art magazine 'Art Market Magazine.'
IMAGES FOR SALE
Ardèche #1 – 9.563"H x 17" W image on 13"x 19" Hahnemühle paper
Archival paper
$450 unframed
Limited edition of 5
Signed on back
Ardèche #3 – 9.563"H x 17" W image on 13"x 19" Hahnemühle paper
Archival paper
$450 unframed
Limited edition of 5
Signed on back
Ardèche #4 – 9.563"H x 17" W image on 13"x 19" Hahnemühle paper
Archival paper
$450 unframed
Limited edition of 5
Signed on back
Contact: Sébastien Guillen – sebastienguillen.com@gmail.com
www.sebastienguillen.com
www.instagram.com/sebastien_guillen
When I first picked up a camera, it opened up an entirely new world for me. I realized it wasn’t just about freezing a moment in time; it was about using that moment to inspire and inform my artistic practice. The camera became more than just a tool for replication—it became a means of creation.
This shift in my approach led me to develop a series called "Camera Painting."
In "Camera Painting," I explore the intersection between photography and painting, particularly within the context of landscapes. I seek to answer the question: "How can a camera be used to create pictorial works that transcend mere representation?" Through this series, I experiment with the boundaries between these two mediums, blending the immediacy and accuracy of the camera with the expressive possibilities of painting.
Landscapes, with their vast and varied forms, have always fascinated me. They offer endless opportunities for exploration, both visually and conceptually. In my work, I use the camera to capture these natural scenes with precision, and then reinterpret them through my painting techniques. The result is a harmonious blend of photographic realism and painterly abstraction—a landscape that is both familiar and transformed, where each medium enriches the other."
Sébastien Guillen, born in Lyon, France, in 1971, embodies the essence of a diverse artist, now calling both Brooklyn, NY, and Milford, PA, home.
He started his artistic career as a musician, and his creative pursuits extend into the visual arts and academia. As a visual artist, composer, and educator of theory of knowledge, he tirelessly seeks a synthesis of sound, image, and contemplation.
Guided by Charles Baudelaire's poignant words, "you gave me your mud and I made it into gold," he revels in the notion that even the seemingly unappealing can serve as a conduit to unveil exquisite beauty. The ordinary, the mundane, the unnoticed, and even the repulsive possess the potential for transformation, ascending to the realm of the sublime. This is the artistic path he diligently carves.
His creations encourage spectators to reassess their perceptions of beauty by embracing unconventional materials and techniques (plexiglass, epoxy resin, digital photography, collage, etc.), as well as employing classical or alternative methods (cyanotype, anthotype, polaroid, photography, ink, etc.), and occasionally, a fusion of multiple approaches. The objective, however, remains constant: to exalt the hidden, inherently imminent beauty that surrounds us.
His photographic endeavors transcend the mere act of capturing images, instead offering profound insights into existential questions, both personal and universal. In an era inundated with imagery and technology, Guillen's work challenges conventional perceptions, presenting a nuanced and provocative exploration of the human condition.
Sébastien Guillen has been recognized as a finalist in the Fresh 2024 contest organized by the Klompching Gallery, located in the Brooklyn neighborhood of Dumbo, New York. Ten pages were dedicated to his work in issue 95 of the highly renowned contemporary art magazine 'Art Market Magazine.'
IMAGES FOR SALE
Ardèche #1 – 9.563"H x 17" W image on 13"x 19" Hahnemühle paper
Archival paper
$450 unframed
Limited edition of 5
Signed on back
Ardèche #3 – 9.563"H x 17" W image on 13"x 19" Hahnemühle paper
Archival paper
$450 unframed
Limited edition of 5
Signed on back
Ardèche #4 – 9.563"H x 17" W image on 13"x 19" Hahnemühle paper
Archival paper
$450 unframed
Limited edition of 5
Signed on back
Contact: Sébastien Guillen – sebastienguillen.com@gmail.com
www.sebastienguillen.com
www.instagram.com/sebastien_guillen
Sebastien Guillen/Ardeche #3
Sebastien Guillen/Ardeche #4
Stevie Rosenfeld/Blue Hour
Stevie Rosenfeld/Fallen
Stevie Rosenfeld/Nestled in Green
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Stevie Rosenfeld/Out of Reach
Stevie Rosenfeld/Resting Place
Stevie Rosenfeld/Split
Stevie Rosenfeld says, "I have always been fascinated by nature, the intricacies of its beauty, its resilience, its vulnerability and its anthropomorphic tendencies. I have always felt welcomed into its culture, without question or judgement. It’s where I have received some of my greatest gifts and where I feel most at home. My series, Nature’s Spirit, is an homage to the natural world and my deep connection to it. Nature’s Spirit strives to go beyond my visual perceptions and to convey the spiritual essence of each unique encounter. It invites questions about our own entanglements, our relationships with the dark and the light, with clarity and ambiguity, our elemental similarities and what may lie beyond."
Stevie is an award-winning photographer and composite artist whose work has been in many publications and galleries. She enjoys working in different genres including portraiture, nature, narratives, black and white and color, representational and abstract imagery. She has studied with such notables as Joyce Tennyson, Douglas Beasley and Sean Kernan, among others.
www.take2films.wixsite.com/throughmylens
Stevie is an award-winning photographer and composite artist whose work has been in many publications and galleries. She enjoys working in different genres including portraiture, nature, narratives, black and white and color, representational and abstract imagery. She has studied with such notables as Joyce Tennyson, Douglas Beasley and Sean Kernan, among others.
www.take2films.wixsite.com/throughmylens
Thomas Ladd/Chimborazo
Thomas Ladd/ Cotopaxi
Thomas Ladd/ El Angel
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Thomas Ladd/ Fuya Fuya
Thomas Ladd/ Ozogoche Alto
Thomas Ladd/ San Carlos
SECOND PLACE
SECOND PLACE
Thomas Ladd, a photographer, graphic designer, and university professor from Providence, Rhode Island, has spent over thirty years capturing evocative landscapes and still-life images exhibited internationally.
The works presented here, taken in the high-altitude grasslands of the northern Andes in Ecuador, explore the stark beauty and solitude of the páramo. These remote ecosystems, often shrouded in mist, are visually striking and environmentally threatened by climate change, reflecting Ladd’s enduring connection to the land.
Images for sale:
Ozogoche Alto, Ecuador
Various: 32"H x 40" W, 20"x25", 16"x20"
Archival Inkjet Pigment Print on Cotton Paper
Scanned from 4x5 Negative
$1,500.00, $1,000.00, $800.00 unframed
Signed on back
Chimborazo, Ecuador
Various: 32"H x 40" W, 20"x25", 16"x20"
Archival Inkjet Pigment Print on Cotton Paper
Scanned from 4x5 Negative
$1,500.00, $1,000.00, $800.00 unframed
Signed on back
El Angel, Ecuador
Various: 32"H x 40" W, 20"x25", 16"x20"
Archival Inkjet Pigment Print on Cotton Paper
Scanned from 4x5 Negative
$1,500.00, $1,000.00, $800.00 unframed
Signed on back
Pucara, Ecuador
Various: 32"H x 40" W, 20"x25", 16"x20"
Archival Inkjet Pigment Print on Cotton Paper
Scanned from 4x5 Negative
$1,500.00, $1,000.00, $800.00 unframed
Signed on back
San Carlos, Ecuador
Various: 32"H x 40" W, 20"x25", 16"x20"
Archival Inkjet Pigment Print on Cotton Paper
Scanned from 4x5 Negative
$1,500.00, $1,000.00, $800.00 unframed
Signed on back
Fuya Fuya, Ecuador
Various: 32"H x 40" W, 20"x25", 16"x20"
Archival Inkjet Pigment Print on Cotton Paper
Scanned from 4x5 Negative
$1,500.00, $1,000.00, $800.00 unframed
Signed on back
Contact: Thomas Ladd, sladd@umassd.edu
www.thomasladd.com
The works presented here, taken in the high-altitude grasslands of the northern Andes in Ecuador, explore the stark beauty and solitude of the páramo. These remote ecosystems, often shrouded in mist, are visually striking and environmentally threatened by climate change, reflecting Ladd’s enduring connection to the land.
Images for sale:
Ozogoche Alto, Ecuador
Various: 32"H x 40" W, 20"x25", 16"x20"
Archival Inkjet Pigment Print on Cotton Paper
Scanned from 4x5 Negative
$1,500.00, $1,000.00, $800.00 unframed
Signed on back
Chimborazo, Ecuador
Various: 32"H x 40" W, 20"x25", 16"x20"
Archival Inkjet Pigment Print on Cotton Paper
Scanned from 4x5 Negative
$1,500.00, $1,000.00, $800.00 unframed
Signed on back
El Angel, Ecuador
Various: 32"H x 40" W, 20"x25", 16"x20"
Archival Inkjet Pigment Print on Cotton Paper
Scanned from 4x5 Negative
$1,500.00, $1,000.00, $800.00 unframed
Signed on back
Pucara, Ecuador
Various: 32"H x 40" W, 20"x25", 16"x20"
Archival Inkjet Pigment Print on Cotton Paper
Scanned from 4x5 Negative
$1,500.00, $1,000.00, $800.00 unframed
Signed on back
San Carlos, Ecuador
Various: 32"H x 40" W, 20"x25", 16"x20"
Archival Inkjet Pigment Print on Cotton Paper
Scanned from 4x5 Negative
$1,500.00, $1,000.00, $800.00 unframed
Signed on back
Fuya Fuya, Ecuador
Various: 32"H x 40" W, 20"x25", 16"x20"
Archival Inkjet Pigment Print on Cotton Paper
Scanned from 4x5 Negative
$1,500.00, $1,000.00, $800.00 unframed
Signed on back
Contact: Thomas Ladd, sladd@umassd.edu
www.thomasladd.com
Wen Cheng/Untitled 1
Wen Cheng/ Untitled 2
Wen Cheng/ Untitled 4
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Wen Cheng/ Untitled 5
Wen Cheng/ Untitled 6
Wen Cheng/ Find the Way
Wen Cheng says, "Ci, a small town just south of the Yangtze River, seems to have been isolated from the rest of the world. Traces of time fade away, leaving those who stay cling onto the present. Underneath the summer heat, there resides a slight tranquility within."
http://www.wenchengphoto.com
http://www.instagram.com/wencheng_photo
TIME & WISDOM OF THE LAND HOME PAGE:
https://laphotocurator.com/time-and-wisdom-of-the-land-curated-by-debe-arlook-and-fred-brashear-jr-
FIRST PLACE:
https://laphotocurator.com/time-and-wisdom-of-the-land-curated-by-debe-arlook-and-fred-brashear-jr-/first-place-prescott-moore-lassman-al-fresco-bathtub---/1
SECOND PLACE:
https://laphotocurator.com/time-and-wisdom-of-the-land-curated-by-debe-arlook-and-fred-brashear-jr-/second-place-thomas-ladd-san-carlos----/1
HONORABLE MENTIONS:
https://laphotocurator.com/time-and-wisdom-of-the-land-curated-by-debe-arlook-and-fred-brashear-jr-/honorable-mentions-edward-montgomery-kinetic-ambiguity-66036-martin-cox-no-trace-01-bremner-benedict-willow-artesian-spring-fed-creek----/1
BEST SERIES:
https://laphotocurator.com/time-and-wisdom-of-the-land-curated-by-debe-arlook-and-fred-brashear-jr-/best-series-donna-bassin-series-environmental-melancholia-precarious-places----/1
EXHIBITION #1:
https://laphotocurator.com/time-and-wisdom-of-the-land-curated-by-debe-arlook-and-fred-brashear-jr-/exhibition-1/1
EXHIBITION #2:
https://laphotocurator.com/time-and-wisdom-of-the-land-curated-by-debe-arlook-and-fred-brashear-jr-/exhibition-2/1
EXHIBITION #3:
https://laphotocurator.com/time-and-wisdom-of-the-land-curated-by-debe-arlook-and-fred-brashear-jr-/exhibition-3/1
http://www.wenchengphoto.com
http://www.instagram.com/wencheng_photo
TIME & WISDOM OF THE LAND HOME PAGE:
https://laphotocurator.com/time-and-wisdom-of-the-land-curated-by-debe-arlook-and-fred-brashear-jr-
FIRST PLACE:
https://laphotocurator.com/time-and-wisdom-of-the-land-curated-by-debe-arlook-and-fred-brashear-jr-/first-place-prescott-moore-lassman-al-fresco-bathtub---/1
SECOND PLACE:
https://laphotocurator.com/time-and-wisdom-of-the-land-curated-by-debe-arlook-and-fred-brashear-jr-/second-place-thomas-ladd-san-carlos----/1
HONORABLE MENTIONS:
https://laphotocurator.com/time-and-wisdom-of-the-land-curated-by-debe-arlook-and-fred-brashear-jr-/honorable-mentions-edward-montgomery-kinetic-ambiguity-66036-martin-cox-no-trace-01-bremner-benedict-willow-artesian-spring-fed-creek----/1
BEST SERIES:
https://laphotocurator.com/time-and-wisdom-of-the-land-curated-by-debe-arlook-and-fred-brashear-jr-/best-series-donna-bassin-series-environmental-melancholia-precarious-places----/1
EXHIBITION #1:
https://laphotocurator.com/time-and-wisdom-of-the-land-curated-by-debe-arlook-and-fred-brashear-jr-/exhibition-1/1
EXHIBITION #2:
https://laphotocurator.com/time-and-wisdom-of-the-land-curated-by-debe-arlook-and-fred-brashear-jr-/exhibition-2/1
EXHIBITION #3:
https://laphotocurator.com/time-and-wisdom-of-the-land-curated-by-debe-arlook-and-fred-brashear-jr-/exhibition-3/1
