TREES- Dulce Stein > EXHIBITION #2
EXHIBITION #2
AS ABOVE SO BELOW 1 by Emma Livingston
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Emma Livingston says, "Nature in its many forms is the protagonist in my work, and photography a means for me to pay homage to it.
I am concerned about its vulnerability and yet weaved within my work are the ideas of its resilience, philosophy and wisdom. I am interested in the symbolism and polarities represented by the landscape and its elements; in the stories of their past, present and future; and in the exploration of our relationship with the natural environment.
Nature is for me a means to become still, mindful, and contemplative, where all superficialities are stripped away, and I am left with the bare essentials of being.
With each series in which I photograph different versions of the same subject, my intention is to create a more sustained and uninterrupted space for contemplation and questioning; a space to pause, reflect and wonder. I often decontextualize the subject by shooting or, as in my more work, digitally cutting out a section of the landscape.
This abstraction in some cases creates a space for further questioning: ‘What am I looking at? How does this image make me feel?’ I am interested not in facts per se but in suggestions; not in the specificity of the place or subject represented but in how these images resonate within us.
With these images from a brand new series in the making called As above So Below, I am interested in the idea of the trees' roots being a reflection of the trees above ground.
However, here one looses touch with what is above or below, and with the orientation of what is top or bottom. I am always interested in how the landscape can be a space for loosing touch with reality, a space where our imagination can take over. Trees and in particular the woodland or forest is space which tantalizes our imagination and feeds our dreams. It is a place that resonates with what is hidden, the unseen; it is enchanting and yet also eerie."
Emma Livingston is a British/Argentine artist photographer based in Buenos Aires, Argentina. She graduated in History of Art at University College London in 2000.
Her work has been in solo and group exhibitions in galleries, cultural centres and museums in Argentina, Brazil, Mexico, the United States, France and Germany, and has been published in various international magazines including European Photography, NextLevel, Lensculture and Loupe.
She was nominated for the Prix Pictet EARTH competition, and was awarded first prize in the London Photographic Association and Px3 competitions. She was also nominated a Discovery of the FOTOFEST Meeting Place and a PDN 30 Photographer to Watch in 2010 and 2009 respectively. In September 2017, she spent a month on an artist residency at the Vermont Studio Center.
www.emmalivingston.com
I am concerned about its vulnerability and yet weaved within my work are the ideas of its resilience, philosophy and wisdom. I am interested in the symbolism and polarities represented by the landscape and its elements; in the stories of their past, present and future; and in the exploration of our relationship with the natural environment.
Nature is for me a means to become still, mindful, and contemplative, where all superficialities are stripped away, and I am left with the bare essentials of being.
With each series in which I photograph different versions of the same subject, my intention is to create a more sustained and uninterrupted space for contemplation and questioning; a space to pause, reflect and wonder. I often decontextualize the subject by shooting or, as in my more work, digitally cutting out a section of the landscape.
This abstraction in some cases creates a space for further questioning: ‘What am I looking at? How does this image make me feel?’ I am interested not in facts per se but in suggestions; not in the specificity of the place or subject represented but in how these images resonate within us.
With these images from a brand new series in the making called As above So Below, I am interested in the idea of the trees' roots being a reflection of the trees above ground.
However, here one looses touch with what is above or below, and with the orientation of what is top or bottom. I am always interested in how the landscape can be a space for loosing touch with reality, a space where our imagination can take over. Trees and in particular the woodland or forest is space which tantalizes our imagination and feeds our dreams. It is a place that resonates with what is hidden, the unseen; it is enchanting and yet also eerie."
Emma Livingston is a British/Argentine artist photographer based in Buenos Aires, Argentina. She graduated in History of Art at University College London in 2000.
Her work has been in solo and group exhibitions in galleries, cultural centres and museums in Argentina, Brazil, Mexico, the United States, France and Germany, and has been published in various international magazines including European Photography, NextLevel, Lensculture and Loupe.
She was nominated for the Prix Pictet EARTH competition, and was awarded first prize in the London Photographic Association and Px3 competitions. She was also nominated a Discovery of the FOTOFEST Meeting Place and a PDN 30 Photographer to Watch in 2010 and 2009 respectively. In September 2017, she spent a month on an artist residency at the Vermont Studio Center.
www.emmalivingston.com
AS ABOVE SO BELOW 2 by Emma Livingston
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AS ABOVE SO BELOW 3 by Emma Livingston
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DEATH VALLEY TREE by Eric Renard
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Eric M. Renard is a Los Angeles based Photographer. Born in New York, he attended school in Riverdale, NY. Eric spent his summers in Maine, where he was first exposed to photography and learned his was around a dark room. Eric’s passion for photography was once again ignited at Tufts University in Boston, where he studied under Sigfried Halus.
After graduating, Eric moved to San Francisco, as an architectural photographer before moving to Los Angeles. Eric’s unique exposure to both urban and rural living can be seen throughout his work, as he is equally at home in both settings.
Whether working in black and white or vibrant colors, his urban cityscapes and rural landscapes often reflect an eerie sense of peace and quiet, rarely portraying more than one or two people.
Eric’s photography has been exhibited in galleries in Los Angeles and Minnesota and viewed digitally around the world, receiving numerous awards.
CAREER HIGHLIGHTS
Selected Exhibitions
2019 House of Lucie (Solo Exhibit), Los Angeles, CA
2019 Black Box Gallery, Seattle WA
2018 August Duncan Miller Gallery, Santa Monica, CA
2018 August Praxis Gallery, Minn.
2018 June Praxis Gallery, Minn.
2018 March Praxis Gallery, Minn.
2015 Seyhoon Gallery (Solo Exhibition), West Hollywood, CA
2015 Brent Shapiro Foundation, Beverly Hills, CA
2015 Vista, San Francisco, CA
Publications and Awards
2019 Your Daily Photograph – Bear in a Photo Booth 6/20/19
2019 Your Daily Photograph – Miami Blues 4/27/19
2018 Your Daily Photograph – Flatiron Building 12/0/18
2018 Your Daily Photograph – Lily with Dew 3/30/19
2018 International Photography Awards – 3rd Place – Brooklyn Bridge 10/1/18
2018 International Photography Awards – Honorable Mention – Chrysler Building 10/1/18 2018 International Photography Awards – Honorable Mention – Coral Dunes 10/1/18
2018 Your Daily Photograph – Brooklyn Bridge 7/13/18
2018 Your Daily Photograph – Curved Bank Yosemite 3/26/18
2018 Your Daily Photograph – Chrysler Building 1/4/18
2017 Monochrome Awards – Honorable Mention in Abstract – Spiraling Down
2017 Monochrome Awards – Honorable Mention in Nature – Dew Covered Lily
2017 Monochrome Awards – Honorable Mention in Fine Art – The Window
2017 Your Daily Photograph – Stacked Dishes 11/2/17
2017 Your Daily Photograph – Moonrise in Zion 2/1/17
2016 Your Daily Photograph – Starry Night Monument Valley 12/21/16
2016 Your Daily Photograph – Lone Sign 12/5/16 2016 Your Daily Photograph – Flight 55 Bel Air 9/22/16
http://www.ericrenardphotography.com
After graduating, Eric moved to San Francisco, as an architectural photographer before moving to Los Angeles. Eric’s unique exposure to both urban and rural living can be seen throughout his work, as he is equally at home in both settings.
Whether working in black and white or vibrant colors, his urban cityscapes and rural landscapes often reflect an eerie sense of peace and quiet, rarely portraying more than one or two people.
Eric’s photography has been exhibited in galleries in Los Angeles and Minnesota and viewed digitally around the world, receiving numerous awards.
CAREER HIGHLIGHTS
Selected Exhibitions
2019 House of Lucie (Solo Exhibit), Los Angeles, CA
2019 Black Box Gallery, Seattle WA
2018 August Duncan Miller Gallery, Santa Monica, CA
2018 August Praxis Gallery, Minn.
2018 June Praxis Gallery, Minn.
2018 March Praxis Gallery, Minn.
2015 Seyhoon Gallery (Solo Exhibition), West Hollywood, CA
2015 Brent Shapiro Foundation, Beverly Hills, CA
2015 Vista, San Francisco, CA
Publications and Awards
2019 Your Daily Photograph – Bear in a Photo Booth 6/20/19
2019 Your Daily Photograph – Miami Blues 4/27/19
2018 Your Daily Photograph – Flatiron Building 12/0/18
2018 Your Daily Photograph – Lily with Dew 3/30/19
2018 International Photography Awards – 3rd Place – Brooklyn Bridge 10/1/18
2018 International Photography Awards – Honorable Mention – Chrysler Building 10/1/18 2018 International Photography Awards – Honorable Mention – Coral Dunes 10/1/18
2018 Your Daily Photograph – Brooklyn Bridge 7/13/18
2018 Your Daily Photograph – Curved Bank Yosemite 3/26/18
2018 Your Daily Photograph – Chrysler Building 1/4/18
2017 Monochrome Awards – Honorable Mention in Abstract – Spiraling Down
2017 Monochrome Awards – Honorable Mention in Nature – Dew Covered Lily
2017 Monochrome Awards – Honorable Mention in Fine Art – The Window
2017 Your Daily Photograph – Stacked Dishes 11/2/17
2017 Your Daily Photograph – Moonrise in Zion 2/1/17
2016 Your Daily Photograph – Starry Night Monument Valley 12/21/16
2016 Your Daily Photograph – Lone Sign 12/5/16 2016 Your Daily Photograph – Flight 55 Bel Air 9/22/16
http://www.ericrenardphotography.com
LONE TREE ZION by Eric Renard
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ON SANDY BANK by Eric Renard
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BONES AND SINEW by Frank Fuerst
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Frank Fuerst says, "I am a Midwesterner by birth and upbringing, but I’ve lived in Georgia since 1981, when I ventured south to further my education and start my career. I still can’t say I’m a Southerner, but I do now call the South my home, and the focus of most of my work is on exploring southern people, life and landscape.
In the late 70’s I took a couple of introductory courses in photography at the Rhode Island School of Design. There I learned my way around a B&W darkroom, the basics of composition and a love for the beauty of a black and white print. Through my professional career and raising a family I set aside this avocation for years.
I picked up a digital point and shoot for a trip out west about 10 years ago and rekindled my passion for making photographs. I haven’t done any work in a darkroom for years, but those early lessons in bringing out the best of a negative onto paper are still with me, as is my love for a beautiful print.
Career Highlights
Juried Exhibits
2019
SlowExposures 2019, SlowExposures, Pike County, Georgia (Jurors: Alyssa Coppelman and Gordon Stettinius)
Trees: Life in the Slow Lane, PhotoPlace Gallery, Middlebury, Vermont (Juror: Kat Kiernan)
Color Explorations, South x Southeast Photo Gallery, Molena, GA (Juror: Ellie Pritts)
2018
Photo Buckhead 2018, Atlanta Celebrates Photography, (Juror: Michael James O'Brien)
Black and White Now, South x Southeast Photo Gallery, Molena, Georgia (Juror: Mark Steinmetz)
2017
Photo Buckhead 2017, Atlanta Celebrates Photography, Buckhead Library, Atlanta, Georgia (Juror: John Lawrence)
Honoring Trees, PhotoPlace Gallery, Middlebury, Vermont (Juror: Laura Valenti)
Where Are We, Atlanta Photography Group, Atlanta, Georgia (Juror: Alan Rothschild)
Southern Landscapes, Brickworks Gallery, Atlanta, Georgia (Juror: Elizabeth Avedon)
Publications
Black & White Magazine #131, February 2019 - Single Image Contest 2019
Black & White Magazine #119, February 2017 - Single Image Contest 2017
Images:
http://www.fuerstfotos.com/
In the late 70’s I took a couple of introductory courses in photography at the Rhode Island School of Design. There I learned my way around a B&W darkroom, the basics of composition and a love for the beauty of a black and white print. Through my professional career and raising a family I set aside this avocation for years.
I picked up a digital point and shoot for a trip out west about 10 years ago and rekindled my passion for making photographs. I haven’t done any work in a darkroom for years, but those early lessons in bringing out the best of a negative onto paper are still with me, as is my love for a beautiful print.
Career Highlights
Juried Exhibits
2019
SlowExposures 2019, SlowExposures, Pike County, Georgia (Jurors: Alyssa Coppelman and Gordon Stettinius)
Trees: Life in the Slow Lane, PhotoPlace Gallery, Middlebury, Vermont (Juror: Kat Kiernan)
Color Explorations, South x Southeast Photo Gallery, Molena, GA (Juror: Ellie Pritts)
2018
Photo Buckhead 2018, Atlanta Celebrates Photography, (Juror: Michael James O'Brien)
Black and White Now, South x Southeast Photo Gallery, Molena, Georgia (Juror: Mark Steinmetz)
2017
Photo Buckhead 2017, Atlanta Celebrates Photography, Buckhead Library, Atlanta, Georgia (Juror: John Lawrence)
Honoring Trees, PhotoPlace Gallery, Middlebury, Vermont (Juror: Laura Valenti)
Where Are We, Atlanta Photography Group, Atlanta, Georgia (Juror: Alan Rothschild)
Southern Landscapes, Brickworks Gallery, Atlanta, Georgia (Juror: Elizabeth Avedon)
Publications
Black & White Magazine #131, February 2019 - Single Image Contest 2019
Black & White Magazine #119, February 2017 - Single Image Contest 2017
Images:
http://www.fuerstfotos.com/
ENT by Frank Fuerst
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FORT MOUNTAIN TUPELOS by Frank Fuerst
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GNARLY by Dennis Geller
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Dennis Geller says of his series, Images from the Latent World Project, " As long as I've used a camera I’ve been both attracted and frustrated by certain scenes.
Landscapes stand out in particular. When I look at a landscape I see lighting and colors that create relationships. Often, on paper the images lack the excitement and depth that I see in an old stump or a copse of trees when it is right in front of me. Probably this is mostly lack of skill, but I often feel that there’s a reality in the scenes that I can’t point to or describe.
This project has evolved as a way to investigate that latent reality. The work is partly rooted in my admiration for the Italian painter Giorgio Morandi's control of tonality, and partly in the classical painting technique known as grisaille. The tools that I use began in the darkroom, but here are purely digital."
In different lives a mathematician, an educator, and a software R&D manager. Now a photographer in the Boston area, married to the artist and rug designer Catherine Bertulli and living near my two adult children. Studies with Emily Belz, Alura VAlenti. Molly Lamb, Sue Anne Hodges and Arthur Meyerson. Supports Emile Belz as Teaching Assistant in various classes at the Griffin Museum
Recent Career Highlights
2019 About Lighting LA Photo Curator, online exhibition: Honorable Mention
2019 Fine Art of Photography 2019, Plymouth (MA) Center for the Arts. Honorable Mention
2019 Abstracts Matter, 311 Gallery, Raleigh, NC
2018 Abstraction, Lafayette City Center Gallery (Griffin Museum), Boston, MA
2018 National Juried Photography Exhibition, Wickford Art Association, Kingstown,RI.
2018 Color 2018, 3 Square Art, Fort Collins,CO.
2018 Fourth Annual Group Show, Davis-Orton Gallery, Hudson,
http://www.dennisgeller.net/
Landscapes stand out in particular. When I look at a landscape I see lighting and colors that create relationships. Often, on paper the images lack the excitement and depth that I see in an old stump or a copse of trees when it is right in front of me. Probably this is mostly lack of skill, but I often feel that there’s a reality in the scenes that I can’t point to or describe.
This project has evolved as a way to investigate that latent reality. The work is partly rooted in my admiration for the Italian painter Giorgio Morandi's control of tonality, and partly in the classical painting technique known as grisaille. The tools that I use began in the darkroom, but here are purely digital."
In different lives a mathematician, an educator, and a software R&D manager. Now a photographer in the Boston area, married to the artist and rug designer Catherine Bertulli and living near my two adult children. Studies with Emily Belz, Alura VAlenti. Molly Lamb, Sue Anne Hodges and Arthur Meyerson. Supports Emile Belz as Teaching Assistant in various classes at the Griffin Museum
Recent Career Highlights
2019 About Lighting LA Photo Curator, online exhibition: Honorable Mention
2019 Fine Art of Photography 2019, Plymouth (MA) Center for the Arts. Honorable Mention
2019 Abstracts Matter, 311 Gallery, Raleigh, NC
2018 Abstraction, Lafayette City Center Gallery (Griffin Museum), Boston, MA
2018 National Juried Photography Exhibition, Wickford Art Association, Kingstown,RI.
2018 Color 2018, 3 Square Art, Fort Collins,CO.
2018 Fourth Annual Group Show, Davis-Orton Gallery, Hudson,
http://www.dennisgeller.net/
POTSDAM MEMORY by Dennis Geller
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ROOTED by Dennis Geller
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HEDERA by Gerardo Stubing
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The work of Gerardo Stübing: This series, entitled "BotaniKa", aims to show the beauty, harmony andplasticity of the creations of Nature ("Natura naturata" in theconcept of Spinoza) as the basis for artistic creation.
Natural proportions largely govern our aesthetic perception of beauty and itsapplication in artistic creation is inescapable, since it is very difficult to find a perceptual harmony far from such proportions.
All this coincides to a large extent with the Darwinian theory of beauty (Dutton, 2014), which is well summarized in the quote by Darwin in his work The Descent of Man: "Speciesare determined by beauty."
The scientific method in Biology, allows the analysis and knowledge of a series oforganisms and details of these, which logically reveal the aforementioned harmony. Curiously, the non-experienced observer lacks a symbolic conditioningto these observations, which makes him appreciate harmonious and stimulating forms that, to some extent, are framed in an ambiguous abstraction.
Original analog images are transferred to the paper using alternativephotography techniques (Platinum/palladium, cyanotype).
The objective of this work, beyond the strict artistic creation, is to deepen these concepts and to experience an artistic production based on them, seeking tosensitize the observer in the appreciation and respect for our natural environment, as we protect that of what we fall in love, and to fall in lovewith something or someone previously we have to know it.
The series is part of the Stübing´s doctoral thesis work in Fine Arts entitled: “Botanika: el concepto Natura naturata, aplicado a la creación plásticadesde una perspectiva transmoderna”, which is currently being developed at thePolytechnic University of Valencia.
Original analog images are transferred to the paper using alternative photography techniques (Platinum/palladium, cyanotype, gum printing).
Gerardo Stübing (Stübing), born in Valencia(1957). Professor of Botany at the University of Valencia. Graduated in FineArts, he is currently studying doctorate in Fine Arts at the PolytechnicUniversity of Valencia.
Stübingis a Valencian artist of German origin who has a long career and scientificrecognition in the field of Botany, a science he has taught as a universityprofessor for 30 years at the University of Valencia.
His first actions in the field of art are specified in numerous photographic contributions that illustrate various books about plants and ecosystems of which he is also an author.
Hedecides to expand his creative field by developing pictorial works that initially show a clear geometric tendency that evolves progressively towards biomorphology. Currently, his work, can be defined as an ambiguous abstractioninspired by plants and natural landscapes, for which he uses non-conventional materials.
His works have been selected in more than 50 competitions, some of them at the highest level such as the BMW prize, having won several awards and prizes, and made several exhibitions both collective (more than 40) and individual (9). It has works in official institutions: University of Valencia, InternationalUniversity of Andalusia, Jiloca Studies Center), Bancaja de Segorbe Foundation,British Institute of Seville and Ministry of Agriculture.
Career Highlights:
Recent activities (2018/19):
- 00 Bienal de La Habana (Mayo 2018) with“Ecosistemas cubanos”. (Cianotypes).
-Selected artist in Anderson, Christina Z.Cyanotype: The Blueprint in Contemporary Practice. New York: Focal Press,2019.320 pages.ISBN-10: 1138338834.ISBN-13: 978-1138338838.
-Solo exhibition “320 nm” in Galería Tapineratede Valencia. Junio 2018.
-Selected X Biennal d’Art Riudebitlles (Spain).
-Selected works in The HAND Magazine, Issue #21,July 2018.
-Selected works in The HAND Magazine, Issue #23,Noviembre 2018.
- A Smith Gallery’s (Johnson City,Texas), “black/white” exhibitionjuried by Jennifer Schlesinger. January 2019. (Lumen/pseudolith print).
- A Smith Gallery’s (Johnson City,Texas), “Art+Science” exhibitionjuried by Linda Alterwitz. January 2019. (Lumen/pseudolith print).
-Group exhibition: El Futuro. Obra social CaixaOntinyent. Diciembre 1018-Enero 2019, con la instalación “Mayo 2050”.
-10th Annual “Abstracts” 2019 Art Exhibition.Light Space & Time Online Art Gallery. Marzo 2019.
- Art Intersection Light Sensitive 2019 exihibition (Gilbert, Arizona)),juried by Christopher James.. Marzo 2019.
-Selected works in The HAND Magazine, Issue #24, Abril 2019.
-Selected works in The HAND Magazine, Issue #25, July 2019.
http://www.gerardostubing.com/
Natural proportions largely govern our aesthetic perception of beauty and itsapplication in artistic creation is inescapable, since it is very difficult to find a perceptual harmony far from such proportions.
All this coincides to a large extent with the Darwinian theory of beauty (Dutton, 2014), which is well summarized in the quote by Darwin in his work The Descent of Man: "Speciesare determined by beauty."
The scientific method in Biology, allows the analysis and knowledge of a series oforganisms and details of these, which logically reveal the aforementioned harmony. Curiously, the non-experienced observer lacks a symbolic conditioningto these observations, which makes him appreciate harmonious and stimulating forms that, to some extent, are framed in an ambiguous abstraction.
Original analog images are transferred to the paper using alternativephotography techniques (Platinum/palladium, cyanotype).
The objective of this work, beyond the strict artistic creation, is to deepen these concepts and to experience an artistic production based on them, seeking tosensitize the observer in the appreciation and respect for our natural environment, as we protect that of what we fall in love, and to fall in lovewith something or someone previously we have to know it.
The series is part of the Stübing´s doctoral thesis work in Fine Arts entitled: “Botanika: el concepto Natura naturata, aplicado a la creación plásticadesde una perspectiva transmoderna”, which is currently being developed at thePolytechnic University of Valencia.
Original analog images are transferred to the paper using alternative photography techniques (Platinum/palladium, cyanotype, gum printing).
Gerardo Stübing (Stübing), born in Valencia(1957). Professor of Botany at the University of Valencia. Graduated in FineArts, he is currently studying doctorate in Fine Arts at the PolytechnicUniversity of Valencia.
Stübingis a Valencian artist of German origin who has a long career and scientificrecognition in the field of Botany, a science he has taught as a universityprofessor for 30 years at the University of Valencia.
His first actions in the field of art are specified in numerous photographic contributions that illustrate various books about plants and ecosystems of which he is also an author.
Hedecides to expand his creative field by developing pictorial works that initially show a clear geometric tendency that evolves progressively towards biomorphology. Currently, his work, can be defined as an ambiguous abstractioninspired by plants and natural landscapes, for which he uses non-conventional materials.
His works have been selected in more than 50 competitions, some of them at the highest level such as the BMW prize, having won several awards and prizes, and made several exhibitions both collective (more than 40) and individual (9). It has works in official institutions: University of Valencia, InternationalUniversity of Andalusia, Jiloca Studies Center), Bancaja de Segorbe Foundation,British Institute of Seville and Ministry of Agriculture.
Career Highlights:
Recent activities (2018/19):
- 00 Bienal de La Habana (Mayo 2018) with“Ecosistemas cubanos”. (Cianotypes).
-Selected artist in Anderson, Christina Z.Cyanotype: The Blueprint in Contemporary Practice. New York: Focal Press,2019.320 pages.ISBN-10: 1138338834.ISBN-13: 978-1138338838.
-Solo exhibition “320 nm” in Galería Tapineratede Valencia. Junio 2018.
-Selected X Biennal d’Art Riudebitlles (Spain).
-Selected works in The HAND Magazine, Issue #21,July 2018.
-Selected works in The HAND Magazine, Issue #23,Noviembre 2018.
- A Smith Gallery’s (Johnson City,Texas), “black/white” exhibitionjuried by Jennifer Schlesinger. January 2019. (Lumen/pseudolith print).
- A Smith Gallery’s (Johnson City,Texas), “Art+Science” exhibitionjuried by Linda Alterwitz. January 2019. (Lumen/pseudolith print).
-Group exhibition: El Futuro. Obra social CaixaOntinyent. Diciembre 1018-Enero 2019, con la instalación “Mayo 2050”.
-10th Annual “Abstracts” 2019 Art Exhibition.Light Space & Time Online Art Gallery. Marzo 2019.
- Art Intersection Light Sensitive 2019 exihibition (Gilbert, Arizona)),juried by Christopher James.. Marzo 2019.
-Selected works in The HAND Magazine, Issue #24, Abril 2019.
-Selected works in The HAND Magazine, Issue #25, July 2019.
http://www.gerardostubing.com/
PLATANUS ORIENTALIS by Gerardo Stubing
HONORABLE MENTION
HONORABLE MENTION
TREES by Gerardo Stubing
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PROTECTOR OF THE POTOMAC by Gina Genis
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“Yet still the unresting castles thresh
In fullgrown thickness every May.
Last year is dead they seem to say,
Begin afresh, afresh, afresh.
~Last verse from The Trees by Philip Larkin
Gina Genis says, " I currently live in Washington DC where politics is considered as much a sport as baseball. Tensions are high between political parties, racism has accelerated, and there are more causes to support than stars in the sky.
When I need a break, I turn to Mother Nature, who has endured eons of human-induced calamity. Trees stand sentry to remind me of the opportunity to better my footprint on the small space of terrain I inhabit. One step at a time I begin afresh, afresh, afresh."
Gina Genis was educated at Parsons, NY and has exhibited her work in America and
Europe. She believes a well rounded artist experiences the many different attitudes andopinions of people from different cities so she shakes up her life by moving around. To date, she has lived in Los Angeles, New York, Orange County, the small mountain town of Idyllwild, and currently in Washington, DC.
In fullgrown thickness every May.
Last year is dead they seem to say,
Begin afresh, afresh, afresh.
~Last verse from The Trees by Philip Larkin
Gina Genis says, " I currently live in Washington DC where politics is considered as much a sport as baseball. Tensions are high between political parties, racism has accelerated, and there are more causes to support than stars in the sky.
When I need a break, I turn to Mother Nature, who has endured eons of human-induced calamity. Trees stand sentry to remind me of the opportunity to better my footprint on the small space of terrain I inhabit. One step at a time I begin afresh, afresh, afresh."
Gina Genis was educated at Parsons, NY and has exhibited her work in America and
Europe. She believes a well rounded artist experiences the many different attitudes andopinions of people from different cities so she shakes up her life by moving around. To date, she has lived in Los Angeles, New York, Orange County, the small mountain town of Idyllwild, and currently in Washington, DC.
QUEEN OF CONSTITUTION GARDENS by Gina Genis
SECOND PLACE
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SECOND PLACE
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WOMAN AMONG THE WILLOWS by Gina Genis
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ARBOR NEIGHBOR - 36 by Jeffrey Smudde
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Jeffrey Smudde says, "Someone asked me in the backseat of a white 2006 Honda Accord one time: “are you okay?” The beginning of that year wouldn’t let me feel okay. Those first four days of 2017 were spent far from okay.That night was cold and windy. We couldn’t see anything besides the dock we were standing on. Maybe that was for the better. Twenty minutes north of town seemed like a hundred miles away that night. The breeze of January winter tore through the bare limbs of the pines and oaks that surrounded the lake.
Maybe I was searching for something I couldn’t find. Maybe the trees and water in front of me were just a façade of something we were both looking for. But maybe we were both just looking for an escape.
The year following left me with only a camera and a car. Those twenty minutes that felt like a hundred miles took me to a place where I could possibly feel okay. I embraced the fog that caressed the arbor and the amber light that bathed the barks of these trees so often ignored.
A year was spent escaping to this place, wandering the woodland with nothing but a camera, looking for the delicate dance between myself and nature. I sought my way out of that year before by pacing among the wires of Man and the spires of nature. I began to feel something close to okay.
And now instead of asking if I’m okay, I will ask myself “are you home?”
These sixty photographs were made during the entirety of 2018. January 21 up until December 22. What started off as a relatively small series of woodland landscapes later turned into my first photo book. I found myself traveling to the woods multiple times every month of that year. The periodic short writings depict the narrative in my mind while I was creating this book. I learned a lot about myself through working on this, from photography to my life."
Jeff Smudde (pr. “SMOO-dee”; b. 1997, Michigan) is a photographic artist currently based in central Illinois.
Jeff began his photographic journey in 2010, but has always had a fascination with the medium since he was a child. He was exhibited in Sydney, Australia at The Other Art Fair, had his first solo exhibition of Moth in Ottawa, Illinois, and self-published his first monograph Arbor, Neighbor in 2019.
He was awarded a Friends of the Arts grant to create the Class of 2019 Photo Major exhibition at Illinois State University.He holds a Bachelor of Art in photography and a minor in mass media/journalism from Illinois State University.
His overall photographic philosophy is about storytelling through the contemporary American landscapeCareer Highlights are mentioned in bio.
https://www.jeffsmudde.com/
Maybe I was searching for something I couldn’t find. Maybe the trees and water in front of me were just a façade of something we were both looking for. But maybe we were both just looking for an escape.
The year following left me with only a camera and a car. Those twenty minutes that felt like a hundred miles took me to a place where I could possibly feel okay. I embraced the fog that caressed the arbor and the amber light that bathed the barks of these trees so often ignored.
A year was spent escaping to this place, wandering the woodland with nothing but a camera, looking for the delicate dance between myself and nature. I sought my way out of that year before by pacing among the wires of Man and the spires of nature. I began to feel something close to okay.
And now instead of asking if I’m okay, I will ask myself “are you home?”
These sixty photographs were made during the entirety of 2018. January 21 up until December 22. What started off as a relatively small series of woodland landscapes later turned into my first photo book. I found myself traveling to the woods multiple times every month of that year. The periodic short writings depict the narrative in my mind while I was creating this book. I learned a lot about myself through working on this, from photography to my life."
Jeff Smudde (pr. “SMOO-dee”; b. 1997, Michigan) is a photographic artist currently based in central Illinois.
Jeff began his photographic journey in 2010, but has always had a fascination with the medium since he was a child. He was exhibited in Sydney, Australia at The Other Art Fair, had his first solo exhibition of Moth in Ottawa, Illinois, and self-published his first monograph Arbor, Neighbor in 2019.
He was awarded a Friends of the Arts grant to create the Class of 2019 Photo Major exhibition at Illinois State University.He holds a Bachelor of Art in photography and a minor in mass media/journalism from Illinois State University.
His overall photographic philosophy is about storytelling through the contemporary American landscapeCareer Highlights are mentioned in bio.
https://www.jeffsmudde.com/
ARBOR NEIGHBOR - 43 by Jeffrey Smudde
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ARBOR NEIGHBOR - 57 by Jeffrey Smudde
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DESERT PAINTING by Jennifer Heins
Taken in Joshua Tree National Park with rescale 35mm.
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Taken in Joshua Tree National Park with rescale 35mm.
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Jennifer Heins says, "I enjoy the shifting dynamic between experience and memory. Both of these things are largely out of our control and my photography tends to focus on such: crumbling landscapes, natural erosion on manmade things. Employing expired film and the use of double-exposers has added joyful elements of uncertainty to my photography. Just as our memory is never quite a truthful representation of the past, the shifting colors and layering of my photos evoke feelings and thoughts that alter my initial experience with that image."
Jennifer Heins has been practicing photography since she got her first point and shoot digital camera over a decade ago. She has no formal training in photography. Her knowledge stems from her education in film and cinematography. She began experimenting with disposable cameras in 2014 and now primarily utilizes 35mm film, and occasionally instant film. In January 2017 she was ShootFilm UK’s artist of the week. She has also received honorable mention in LA Photo Curator’s call for entry ‘Texture’.
instagram @jennheins
Jennifer Heins has been practicing photography since she got her first point and shoot digital camera over a decade ago. She has no formal training in photography. Her knowledge stems from her education in film and cinematography. She began experimenting with disposable cameras in 2014 and now primarily utilizes 35mm film, and occasionally instant film. In January 2017 she was ShootFilm UK’s artist of the week. She has also received honorable mention in LA Photo Curator’s call for entry ‘Texture’.
instagram @jennheins
HOME by Jennifer Heins
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"Home"
My family home in Virginia, taken on expired 127 film with a Brownie Holiday. The contrast between the solid, finite outline of the house and the spindly winter trees reinforces that unpredictable, upward energy trees always evoke.
My family home in Virginia, taken on expired 127 film with a Brownie Holiday. The contrast between the solid, finite outline of the house and the spindly winter trees reinforces that unpredictable, upward energy trees always evoke.
THE PINES PAST BRACKLINN FALLS by Jennifer Heins
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"The Pines Past Bracklinn Falls"
35mm color film. A particularly enchanting pine forest past Bracklinn Falls, near Callander, Scotland.
(Click on image for larger view)
"The Pines Past Bracklinn Falls"
35mm color film. A particularly enchanting pine forest past Bracklinn Falls, near Callander, Scotland.
TO THE SUMMIT by Jennifer Heins
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"To the Summit"
35mm color film. This is the last tree I could see before my view was completely obscured by fog on a rainy hike up to the summit of Meall a' Bhuachaille, near Glenmore Forest in Scotland.
35mm color film. This is the last tree I could see before my view was completely obscured by fog on a rainy hike up to the summit of Meall a' Bhuachaille, near Glenmore Forest in Scotland.
WE ARE THE TREES by Jennifer Heins
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SKY WALKING by Jennifer Heins
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"Sky Walking"
Double exposure on expired 35mm Vermont Color film. Taken in Angeles National Forest.
(Click on image for larger view)
"Sky Walking"
Double exposure on expired 35mm Vermont Color film. Taken in Angeles National Forest.
DIVIDED TREE by Joyce Ernst
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Joyce Ernst says, "I am always looking for images that astonish and captivate me, and I often find them in the world of the seemingly mundane.
I notice and respond to my environment in the moment; color, shape, light, movement or emotion might be the starting point. I bring the open heart, the playfulness, the spirit to the process to discover the many kinds of beauty the world offers up to us.
I selected these three images because they show trees in relationship- in relationship to the landscape, to other trees, to time and space, and most importantly to the viewer.
A single vulnerable tree is half thriving and half broken in open undulating space. Two trees exist incongruently, a subtle tension passing between them. A grove, a community of trees populates a sparse landscape, form and hierarchy created by both the natural world and man. All three images speak to us about the complexity of the human condition and our place in the larger world."
Joyce Ernst has been taking photographs since she fell in love with a Canon TX camera and Tri-X film in college.
Photographers like Helen Levitt, Diane Arbus and Sally Mann inspired her along the way as she learned her craft in black and white image making. She has had the good fortune to study with Mary Ellen Mark, Keith Carter, Rodney Smith, Debbie Fleming Caffery and Cig Harvey. Currently she is delighted every day as she builds a body of fine art images.
Website under construction www.joyceernst.com
Instagram @jernsttx
I notice and respond to my environment in the moment; color, shape, light, movement or emotion might be the starting point. I bring the open heart, the playfulness, the spirit to the process to discover the many kinds of beauty the world offers up to us.
I selected these three images because they show trees in relationship- in relationship to the landscape, to other trees, to time and space, and most importantly to the viewer.
A single vulnerable tree is half thriving and half broken in open undulating space. Two trees exist incongruently, a subtle tension passing between them. A grove, a community of trees populates a sparse landscape, form and hierarchy created by both the natural world and man. All three images speak to us about the complexity of the human condition and our place in the larger world."
Joyce Ernst has been taking photographs since she fell in love with a Canon TX camera and Tri-X film in college.
Photographers like Helen Levitt, Diane Arbus and Sally Mann inspired her along the way as she learned her craft in black and white image making. She has had the good fortune to study with Mary Ellen Mark, Keith Carter, Rodney Smith, Debbie Fleming Caffery and Cig Harvey. Currently she is delighted every day as she builds a body of fine art images.
Website under construction www.joyceernst.com
Instagram @jernsttx
IMPERFECT PAIR by Joyce Ernst
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THE GROVE by Joyce Ernst
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ALSHIRE by Kathryn Dunlevie
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COVER VERSIONS
Kathryn Dunlevie says, "I have always been intrigued by apparent inconsistencies in time and space, and by each individual’s shifting sense of reality. As I fracture and reassemble images to suggest the intrusion of alternate worlds, everyday scenes are transformed into compositions that hint at intangible extra dimensions.
Incorporating vintage record album covers into my process provides me with a trove of not-so-blank canvases with diverse textures and random elements from popular culture.
Combining my photographs with these odd inspirational springboards takes me in unpredictable directions. As relics from our communal visual archive are overlaid with contemporary images, it seems we jump through space and time and that dimensions, normally separate, have indeed collided."
Kathryn Dunlevie is a photography-based artist whose work has been exhibited throughout the U.S. and internationally. Cathy Kimball, Executive Director of the San Jose Institute of Contemporary Art, writes of Dunlevie’s work:
"Through brilliant compositional detail and manipulation, she creates disconcerting, surprising, inexplicable spaces and scenarios – swimming pools that have many points of entry, cloisters with multiple arched domes, streetscapes that elude mapmakers, and interior settings that are almost, but not quite, right."
Born on the east coast, 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 lives in Palo Alto.
Dunlevie has received numerous awards and fellowships, including two Arts Council Silicon Valley Artist Laureate Fellowships and an International Photography Awards honorable mention.
Her work has been exhibited at FotoFest International since 2002, at the Pingyao International Photography Festival in China, at Studio Thomas Kellner in Germany, in the US Art in Embassies Program in Moscow and in Saatchi Arts’ Best of 2014.
Her work has been reviewed in Spain’s La Fotografia Actual, Korea’s photo + and Germany’s Profifoto, as well as in The New York Times, Camerawork: A Journal of Photographic Arts, Photo Metro, Artweek, and Artlies.
Highlights of Career:
Eight solo exhibitions at FotoFest International (Houston) (2002 - 2018)
Included in China's PingYao International Photography Festival (2017)
International Photography Awards (2015)
Included in Saatchi Art's "BEST of 2014"
Reviewed in Korea's Photo+ magazine, (2013)
Included in "Parallax Views", San Jose Institute of Contemporary Art, California (2013)
Included four times in Germany's Photographers Network Selection (2006-2013)
Included the US Art in Embassies Program in Moscow (2012)
Two time Arts Council Silicon Valley Artist Laureate Fellow with cash awards and solo exhibitions at the Triton Museum of Art, Santa Clara, California (2001 and 2005)
Included in "Fresh Work IV: Actualities", Southeast Museum of Photography, Florida (2004)
Included in "Timekeepers", San Francisco Camerawork, San Francisco, California (2000)
www.kathryndunlevie.com
Kathryn Dunlevie says, "I have always been intrigued by apparent inconsistencies in time and space, and by each individual’s shifting sense of reality. As I fracture and reassemble images to suggest the intrusion of alternate worlds, everyday scenes are transformed into compositions that hint at intangible extra dimensions.
Incorporating vintage record album covers into my process provides me with a trove of not-so-blank canvases with diverse textures and random elements from popular culture.
Combining my photographs with these odd inspirational springboards takes me in unpredictable directions. As relics from our communal visual archive are overlaid with contemporary images, it seems we jump through space and time and that dimensions, normally separate, have indeed collided."
Kathryn Dunlevie is a photography-based artist whose work has been exhibited throughout the U.S. and internationally. Cathy Kimball, Executive Director of the San Jose Institute of Contemporary Art, writes of Dunlevie’s work:
"Through brilliant compositional detail and manipulation, she creates disconcerting, surprising, inexplicable spaces and scenarios – swimming pools that have many points of entry, cloisters with multiple arched domes, streetscapes that elude mapmakers, and interior settings that are almost, but not quite, right."
Born on the east coast, 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 lives in Palo Alto.
Dunlevie has received numerous awards and fellowships, including two Arts Council Silicon Valley Artist Laureate Fellowships and an International Photography Awards honorable mention.
Her work has been exhibited at FotoFest International since 2002, at the Pingyao International Photography Festival in China, at Studio Thomas Kellner in Germany, in the US Art in Embassies Program in Moscow and in Saatchi Arts’ Best of 2014.
Her work has been reviewed in Spain’s La Fotografia Actual, Korea’s photo + and Germany’s Profifoto, as well as in The New York Times, Camerawork: A Journal of Photographic Arts, Photo Metro, Artweek, and Artlies.
Highlights of Career:
Eight solo exhibitions at FotoFest International (Houston) (2002 - 2018)
Included in China's PingYao International Photography Festival (2017)
International Photography Awards (2015)
Included in Saatchi Art's "BEST of 2014"
Reviewed in Korea's Photo+ magazine, (2013)
Included in "Parallax Views", San Jose Institute of Contemporary Art, California (2013)
Included four times in Germany's Photographers Network Selection (2006-2013)
Included the US Art in Embassies Program in Moscow (2012)
Two time Arts Council Silicon Valley Artist Laureate Fellow with cash awards and solo exhibitions at the Triton Museum of Art, Santa Clara, California (2001 and 2005)
Included in "Fresh Work IV: Actualities", Southeast Museum of Photography, Florida (2004)
Included in "Timekeepers", San Francisco Camerawork, San Francisco, California (2000)
www.kathryndunlevie.com
BUT BEAUTIFUL by Kathryn Dunlevie
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CELLO CONCERTOS by Kathryn Dunlevie
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WILD OAK by Kathy Curtis Cahill
SECOND PLACE
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SECOND PLACE
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Kathy Curtis Cahill says, "Trees have always been a part of my life, having grown up in the wooded country of upstate New York with the ubiquitous tree swing our grandfather made. Climbing trees,
building forts, and playing hide and seek were all part of my early experiences. But the woods can be scary too, especially at night, where familiar sights are changed into spooky dark places where danger can be hidden.I love night photography, but since lighting is an issue, I learned how to make my own night.
I combine my photographs of the full moon with images of trees I have taken to create a somewhat surreal landscape featuring a majestic tree against an impossibly colorful moon. The solid black background isolates these two elements and highlights the beauty of both.I believe my trees exist in a fantasy world, influenced by my love of science fiction, and by my appreciation of graphic art.
I grew up in the country in upstate New York, an area known for it’s beautiful scenery and wooded hills. I was an art major in both Hight School and College and graduated with a degree in Art Education. I moved to Los Angeles after college, and with little success at a teaching job, found my way into the entertainment industry. I have worked on every form there is, commercials, music videos, low budget features, but finally settled on television, where I spent the last 12 years in the business. I used my photography skills to create set dressing for work, and amassed a large inventory of images. When I retired, I pursued photography more seriously, took as many classes as I could, and became passionate about the medium. I have had several solo shows in the Los Angeles area, each with a different body of work.
The past two years I have been compositing my work, being influenced by Maggie Taylor and the ability to composite a story. I have two homes and split my time between Los Angeles and Morro Bay, Ca. Recently I have been showing my work in the Central Coast which is a very welcoming artistic community. Some of my work is shown in the Artifacts Gallery in Cambria , Ca."
Recent events
July-August 2019 Solo Show The Photo Shop San Luis Obispo
August Edition of Salann Magazine featured work (upcoming)
April 2019 Common Threads II juried show Angel City Brewery LA
March 2019 Women’s Works 32nd Anniversary Juried Show in Woodstock Ill.
March- June 2019 Unusual Views Juried Show Sturt Haaga Gallery, Descanso Gardens, La Canada
July 2018 at The Photo Shop San Luis Obispo Art After Dark
Sept-Oct 2018 SLOMA Pop Up Gallery San Luis Obispo Juried Show
July 2018 Solo Show The Photo Shop San Luis Obispo
April 2018 Featured artist in Thought Provokers article in VoyageLA!
KathyCahillPhotoArt.com
building forts, and playing hide and seek were all part of my early experiences. But the woods can be scary too, especially at night, where familiar sights are changed into spooky dark places where danger can be hidden.I love night photography, but since lighting is an issue, I learned how to make my own night.
I combine my photographs of the full moon with images of trees I have taken to create a somewhat surreal landscape featuring a majestic tree against an impossibly colorful moon. The solid black background isolates these two elements and highlights the beauty of both.I believe my trees exist in a fantasy world, influenced by my love of science fiction, and by my appreciation of graphic art.
I grew up in the country in upstate New York, an area known for it’s beautiful scenery and wooded hills. I was an art major in both Hight School and College and graduated with a degree in Art Education. I moved to Los Angeles after college, and with little success at a teaching job, found my way into the entertainment industry. I have worked on every form there is, commercials, music videos, low budget features, but finally settled on television, where I spent the last 12 years in the business. I used my photography skills to create set dressing for work, and amassed a large inventory of images. When I retired, I pursued photography more seriously, took as many classes as I could, and became passionate about the medium. I have had several solo shows in the Los Angeles area, each with a different body of work.
The past two years I have been compositing my work, being influenced by Maggie Taylor and the ability to composite a story. I have two homes and split my time between Los Angeles and Morro Bay, Ca. Recently I have been showing my work in the Central Coast which is a very welcoming artistic community. Some of my work is shown in the Artifacts Gallery in Cambria , Ca."
Recent events
July-August 2019 Solo Show The Photo Shop San Luis Obispo
August Edition of Salann Magazine featured work (upcoming)
April 2019 Common Threads II juried show Angel City Brewery LA
March 2019 Women’s Works 32nd Anniversary Juried Show in Woodstock Ill.
March- June 2019 Unusual Views Juried Show Sturt Haaga Gallery, Descanso Gardens, La Canada
July 2018 at The Photo Shop San Luis Obispo Art After Dark
Sept-Oct 2018 SLOMA Pop Up Gallery San Luis Obispo Juried Show
July 2018 Solo Show The Photo Shop San Luis Obispo
April 2018 Featured artist in Thought Provokers article in VoyageLA!
KathyCahillPhotoArt.com
BAYWOOD PINE by Kathy Curtis Cahill
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RED TREE by Kathy Curtis Cahill
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WOODS TELEVISION by Lauren Lowery
HONORABLE MENTION
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HONORABLE MENTION
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Lauren Lowery says, "These images are a part of my current series of works, "Through the Trees (Five Years on Film)." The statement for that series is as follows:
Drawing inspiration from personal experiences and my appreciation for both the social and physical landscape of the Appalachian Rust Belt region, the images included in “Through the Trees” were shot on film over the span of five years using cameras that are old, outdated, worn out, faulty, and somewhat broken.
The film is developed and returned to for digital editing many months later, creating a distance from the images and their occurrence. This lends them the ability to exist as an encapsulation of a memory or possibly a dream. The images - much like our memories - are often inaccurate, fractured, blurred, spotty, fogged, oddly cropped, disordered, and otherwise clouded by other memories or dreams; yet they can still be filled with beauty, magic, and wonder. Heavily focused on nature, they represent both a rejection of and an escape from a world affected by corporatization and industry.
The natural world was here before the buildings and before the people who worked in them and it will hopefully continue on long after it all has gone. It is necessary to reflect on nature’s role in the lives of those who live in the Appalachian Rust Belt region, as it is to reflect on joy, curiosity, beauty, relaxation, and the power of family, friendship, and community. Otherwise we run the risk of only regurgitating the images and stories that we’ve seen and heard before concerning the fall of industry and economic disparity."
Lauren Lowery is a media maker from the Ohio River Valley of Pennsylvania. She incorporates inspiration from many arenas, most notably her eclectic taste in music, comics, psychedelia, dreams, dystopian science fiction, the people she loves, and both the physical and social historical landscape of the Northern Appalachian Rust Belt region she calls home. She currently resides in Edinboro, PA with her partner, Douglas Eberhardt, and their cat Branwen.
Career Highlights:
Lowery says, "My work is currently a part of the Summer Exhibition, Ad Astra Per Aspera at the Wassiac Project in Wassaic, NY. I have been the owner of Jet Black Press since 2013, through which I have published multiple zines and other artworks. I earned dual Bachelor of Fine Arts degrees from Edinboro University of Pennsylvania in 2011, with concentrations in both Printmaking and Photography. I am currently pursuing a Masters of Library Science at Clarion University of Pennsylvania, with a concentration in Local and Archival studies."
endlessrevolt.com
instagram: @endlessrevolt
Drawing inspiration from personal experiences and my appreciation for both the social and physical landscape of the Appalachian Rust Belt region, the images included in “Through the Trees” were shot on film over the span of five years using cameras that are old, outdated, worn out, faulty, and somewhat broken.
The film is developed and returned to for digital editing many months later, creating a distance from the images and their occurrence. This lends them the ability to exist as an encapsulation of a memory or possibly a dream. The images - much like our memories - are often inaccurate, fractured, blurred, spotty, fogged, oddly cropped, disordered, and otherwise clouded by other memories or dreams; yet they can still be filled with beauty, magic, and wonder. Heavily focused on nature, they represent both a rejection of and an escape from a world affected by corporatization and industry.
The natural world was here before the buildings and before the people who worked in them and it will hopefully continue on long after it all has gone. It is necessary to reflect on nature’s role in the lives of those who live in the Appalachian Rust Belt region, as it is to reflect on joy, curiosity, beauty, relaxation, and the power of family, friendship, and community. Otherwise we run the risk of only regurgitating the images and stories that we’ve seen and heard before concerning the fall of industry and economic disparity."
Lauren Lowery is a media maker from the Ohio River Valley of Pennsylvania. She incorporates inspiration from many arenas, most notably her eclectic taste in music, comics, psychedelia, dreams, dystopian science fiction, the people she loves, and both the physical and social historical landscape of the Northern Appalachian Rust Belt region she calls home. She currently resides in Edinboro, PA with her partner, Douglas Eberhardt, and their cat Branwen.
Career Highlights:
Lowery says, "My work is currently a part of the Summer Exhibition, Ad Astra Per Aspera at the Wassiac Project in Wassaic, NY. I have been the owner of Jet Black Press since 2013, through which I have published multiple zines and other artworks. I earned dual Bachelor of Fine Arts degrees from Edinboro University of Pennsylvania in 2011, with concentrations in both Printmaking and Photography. I am currently pursuing a Masters of Library Science at Clarion University of Pennsylvania, with a concentration in Local and Archival studies."
endlessrevolt.com
instagram: @endlessrevolt
DAYS WE DREAM ABOUT by Lauren Lowery
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FELLED TREE by Lauren Lowery
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LICHEN OASIS by Malicious Sheep
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“Malicious Sheep is a differently-able multidisciplinary artist and photographer from rural Simcoe County, ON, Canada. The artist is self-taught in many mediums including, but not limited to photography, drawing, painting, sculpture, fibre, mixed media, performance, assemblage of found objects, digital and time-based art.
Malicious Sheep has developed motor and mobility issues in recent years and had transitioned primarily to photography as it is the most accessible medium the artist can use at this time.
The artist's mobility issues necessitates the repeated examination and photographic documentation of wildlife within a half-acre property over time. Themes of study include; growth and decay, isolation, worth, as well as patterns and cycles in nature relevant to biomimetics.
Being descendant from craftspersons, clockmakers, ship builders, soldiers and scientists, Malicious Sheep draws from the skills and lessons of these professions and reflects them into artistic expression.”
Career Highlights:
- 2018 Group Exhibition, "Next Wave '18 - Gallery Exhibition Aboard The Northern Spirit Cruise Ship", Harbourfront/Lake Ontario, Toronto ON
- 2013 Group Exhibition, "Contact", 299 Gallery, Augusta Avenue at Kensington Market, Toronto ON
- 2013 Curatorial Project and Group Exhibition, "The Green Art Project Art Gallery", 299 Gallery, Augusta Avenue at Kensington Market, Toronto ON
Image: Lichen Oasis
"Sugar Maple bark is a perfect habitat for various Lichens, such as the pictured Hooded Sunburst and Hoary Rosette Lichens. After a long humid rain, this blue-green tinted lichen swelled and sharpened the contrast within the bright yellow tones, much as an oasis in a desert contrasts in texture with shifting sands.”
https://malicioussheep.portfoliobox.net/
https://www.instagram.com/malicioussheep56/
Malicious Sheep has developed motor and mobility issues in recent years and had transitioned primarily to photography as it is the most accessible medium the artist can use at this time.
The artist's mobility issues necessitates the repeated examination and photographic documentation of wildlife within a half-acre property over time. Themes of study include; growth and decay, isolation, worth, as well as patterns and cycles in nature relevant to biomimetics.
Being descendant from craftspersons, clockmakers, ship builders, soldiers and scientists, Malicious Sheep draws from the skills and lessons of these professions and reflects them into artistic expression.”
Career Highlights:
- 2018 Group Exhibition, "Next Wave '18 - Gallery Exhibition Aboard The Northern Spirit Cruise Ship", Harbourfront/Lake Ontario, Toronto ON
- 2013 Group Exhibition, "Contact", 299 Gallery, Augusta Avenue at Kensington Market, Toronto ON
- 2013 Curatorial Project and Group Exhibition, "The Green Art Project Art Gallery", 299 Gallery, Augusta Avenue at Kensington Market, Toronto ON
Image: Lichen Oasis
"Sugar Maple bark is a perfect habitat for various Lichens, such as the pictured Hooded Sunburst and Hoary Rosette Lichens. After a long humid rain, this blue-green tinted lichen swelled and sharpened the contrast within the bright yellow tones, much as an oasis in a desert contrasts in texture with shifting sands.”
https://malicioussheep.portfoliobox.net/
https://www.instagram.com/malicioussheep56/
MAPLE BLOOM by Malicious Sheep
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Maple Bloom
"Sugar Maple flowers are green and yellow and occur without petals. These delicate blooms often go unnoticed by observers. These elegant strands are not particularly showy and hold a subtle feminine form.”
"Sugar Maple flowers are green and yellow and occur without petals. These delicate blooms often go unnoticed by observers. These elegant strands are not particularly showy and hold a subtle feminine form.”
RIPPLE EFFECT by Malicious Sheep
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Ripple Effect
"The rings of this Sugar Maple are discreetly visible due to the natural dieback of a branch. The rippling pattern resembles when a stone is skipped across water. The tree will suffer dieback in both overly dry and wet years as well as a response to wind, ice and snow damage. The tree will reclaim vital nutrients from accessory branches not vital to survival in an attempt to bolster its success.”
TREES HOME:
https://www.laphotocurator.com/trees-dulce-stein
FIRST PLACE:
https://www.laphotocurator.com/trees-dulce-stein/first-place-alec-dann-fog-light----/1
SECOND PLACE:
https://www.laphotocurator.com/trees-dulce-stein/second-place-gina-genis-queen-of-constitution-gardens-kathy-curtis-cahill-wild-oak----/1
HONORABLE MENTIONS:
https://www.laphotocurator.com/trees-dulce-stein/honorable-mentions-lauren-lowery-woods-television-mara-zaslove-serenity-nina-collosi-martinez-beautiful-chaos-terry-barczac-bones-gerardo-stubing-platanus-orientalis----/1
BEST SERIES:
https://www.laphotocurator.com/trees-dulce-stein/best-series-debra-achen/1
EXHIBITION #1:
https://www.laphotocurator.com/trees-dulce-stein/exhibition-1/1
EXHIBITION #2:
https://www.laphotocurator.com/trees-dulce-stein/exhibition-2/1
EXHIBITION #3:
https://www.laphotocurator.com/trees-dulce-stein/exhibition-3/1----------------------------------------------
"The rings of this Sugar Maple are discreetly visible due to the natural dieback of a branch. The rippling pattern resembles when a stone is skipped across water. The tree will suffer dieback in both overly dry and wet years as well as a response to wind, ice and snow damage. The tree will reclaim vital nutrients from accessory branches not vital to survival in an attempt to bolster its success.”
TREES HOME:
https://www.laphotocurator.com/trees-dulce-stein
FIRST PLACE:
https://www.laphotocurator.com/trees-dulce-stein/first-place-alec-dann-fog-light----/1
SECOND PLACE:
https://www.laphotocurator.com/trees-dulce-stein/second-place-gina-genis-queen-of-constitution-gardens-kathy-curtis-cahill-wild-oak----/1
HONORABLE MENTIONS:
https://www.laphotocurator.com/trees-dulce-stein/honorable-mentions-lauren-lowery-woods-television-mara-zaslove-serenity-nina-collosi-martinez-beautiful-chaos-terry-barczac-bones-gerardo-stubing-platanus-orientalis----/1
BEST SERIES:
https://www.laphotocurator.com/trees-dulce-stein/best-series-debra-achen/1
EXHIBITION #1:
https://www.laphotocurator.com/trees-dulce-stein/exhibition-1/1
EXHIBITION #2:
https://www.laphotocurator.com/trees-dulce-stein/exhibition-2/1
EXHIBITION #3:
https://www.laphotocurator.com/trees-dulce-stein/exhibition-3/1----------------------------------------------
