STILL LIFE 2.0 - YORGOS EFTHYMIADIS > Exhibition #2
Exhibition #2
SMALL AND LARGE THOUGHT 167 by Joan Fitzsimmons
(Click on image for larger view)
(Click on image for larger view)
Joan Fitzsimmons says, "The ordinary act of living is endlessly complex and uncertain. It is through the ordinary that, for me, the world resonates.
With 'Small & Large Thoughts' the artifacts of daily life pass unnoticed until, one day, that simple bowl of yogurt suggests a stroke of paint and the whole history of art is revealed. This series literally began with a casual glance, a random thought, an observation after lunch. My emptied bowl of yogurt looked like the remnants of a painter’s palette.
I began to reflect on that artform’s centuries of practice. I initially shot in black and white then, color. I also, often, increased the scale, further referencing other media. The casual glance occurs again. In shooting, I noticed neglected spoonfuls of yogurt, now given over to decay, demanding to be stacked, sculptural presences.
Re-examining heirlooms of home is also a process of reclamation; not merely recycling objects and collecting memories but claiming their very simplicity as material for art-making. In considering my work’s relationship to the past, I now also look at it in a present-day context, and the past is present. Given the current political climate, I now note that my materials and imagery and manner of collecting them, suggest/are traditional female work, so I am, once again, ready to place it within a feminist context. This project will continue for many more years.
The work in this series contains both gelatin silver prints and archival inkjet prints, dimensions variable."
Joan Fitzsimmons’ work examines the endless complexities and uncertainties of the quotidian in varying explorations of the photographic image, working with both incidental observations and materials of daily life, constructing imagery for both the camera and for photograms. The scale varies according to the concept, from small intimate inkjet prints to large-scale gelatin silver collages, selectively bleached and toned.
Recently Fitzsimmons has traveled to Poland on grants from Artslink, and The John Ansom Kittredge Fund of Harvard University, researching Wycinanki, traditional cut-paper arts, and visiting the forest Bialoweiza for her series, The Woods, a personal reflection on landscape, a place of both fear and fantasy. In Warsaw she also performed in a trilogy of videos, HalfAWoman, by Jacek Malinowski. In fall 2016, at the invitation of Zacheta Gallery, she participated in a curator’s talk about the videos, and conducted a photographic workshop, In Response to Place for young artists.
Additionally, Fitzsimmons has collaborated with Jeanne Criscola on, Oral History: A Recipe for Memories, a project that looks at food as a marker for memories and cultural transformation. Currently she is expanding her series Small & Large Thoughts, selections, of which, were recently exhibited at The Institute Library in New Haven, CT.
Fitzsimmons has exhibited nationally, internationally and online. In 2015 she had a solo show at The Griffin Museum of Photography, Winchester, MA. Her most recent group exhibitions include, curated exhibits Eighties and Hearts at Concepto/Hudson Gallery, Hudson, NY; Three Decades of Change Reunion Exhibit at Artspace, New Haven, an invitational in which past curators selected an artist to exhibit, whose work had had an impact on them; Analog v. Digital, Foley Gallery, LES, NY, NY; and Art & Oppression, a curated CENTER exhibition at the Marion Center for Photographic Arts,Santa Fe, NM.
This past spring her work was selected by Robert Calafiore for the States Project of Lenscratch: Lenscratch: The States Project, http://lenscratch.com/2018/03/joan-fitzsimmons-the-states-project-connecticut/
Fitzsimmons’ work is in the permanent collections of The Griffin Museum of Photography, Winchester, MA; The Brooklyn Museum of American Art; The San Francisco Museum of Modern Art among others public and private collections. Curated flatfiles include The Flatfiles at Artspace, New Haven, CT, Pierogi Flatfiles, LES, NY, NY, and The Drawing Center at Carroll and Sons Gallery, Boston, MA. Fitzsimmons is represented in upstate NY by Concepto/Hudson Gallery, Hudson, NY
Currently Fitsimmons is a Professor at Norwalk Community College, Norwalk, CT. She has taught numerous workshops in the US and abroad. For five years she conducted an art class at Webster Correctional Institute, a men’s minimum security prison in Cheshire, CT.
B.F.A. Washington University School of Art, St. Louis, MO
M.F.A. The School of the Art Institute of Chicago, Chicago, IL
CAREER HIGHLIGHTS:
• 2015 solo exhibition of my Plant Life series at the Griffin Museum of Photography.
I was also pleased to have work in a number of interesting museum group exhibitions:
• Light From Illumination to Pure Radiance, San Francisco Museum of Modern Art, Curator Patty Carroll
• Dogs, The Museum of Contemporary Art, Chicago. IL; Curator Lynn Warren; Traveled under auspices of SITES
Group exhibitions:
• Three Decades of Change Reunion Exhibit, Artspace, New Haven, CT; invited by former curator
Eileen Doktorski who chose the collaboration between Jacek Malinowski & myself
• Fictitious Truth, Photographs by Tina Barney, Mary Frey and Joan Fitzsimmons, Real Art Ways,
Hartford, CT; Curated by Leslie Tonkonow
www.joanfitzsimmons.com
With 'Small & Large Thoughts' the artifacts of daily life pass unnoticed until, one day, that simple bowl of yogurt suggests a stroke of paint and the whole history of art is revealed. This series literally began with a casual glance, a random thought, an observation after lunch. My emptied bowl of yogurt looked like the remnants of a painter’s palette.
I began to reflect on that artform’s centuries of practice. I initially shot in black and white then, color. I also, often, increased the scale, further referencing other media. The casual glance occurs again. In shooting, I noticed neglected spoonfuls of yogurt, now given over to decay, demanding to be stacked, sculptural presences.
Re-examining heirlooms of home is also a process of reclamation; not merely recycling objects and collecting memories but claiming their very simplicity as material for art-making. In considering my work’s relationship to the past, I now also look at it in a present-day context, and the past is present. Given the current political climate, I now note that my materials and imagery and manner of collecting them, suggest/are traditional female work, so I am, once again, ready to place it within a feminist context. This project will continue for many more years.
The work in this series contains both gelatin silver prints and archival inkjet prints, dimensions variable."
Joan Fitzsimmons’ work examines the endless complexities and uncertainties of the quotidian in varying explorations of the photographic image, working with both incidental observations and materials of daily life, constructing imagery for both the camera and for photograms. The scale varies according to the concept, from small intimate inkjet prints to large-scale gelatin silver collages, selectively bleached and toned.
Recently Fitzsimmons has traveled to Poland on grants from Artslink, and The John Ansom Kittredge Fund of Harvard University, researching Wycinanki, traditional cut-paper arts, and visiting the forest Bialoweiza for her series, The Woods, a personal reflection on landscape, a place of both fear and fantasy. In Warsaw she also performed in a trilogy of videos, HalfAWoman, by Jacek Malinowski. In fall 2016, at the invitation of Zacheta Gallery, she participated in a curator’s talk about the videos, and conducted a photographic workshop, In Response to Place for young artists.
Additionally, Fitzsimmons has collaborated with Jeanne Criscola on, Oral History: A Recipe for Memories, a project that looks at food as a marker for memories and cultural transformation. Currently she is expanding her series Small & Large Thoughts, selections, of which, were recently exhibited at The Institute Library in New Haven, CT.
Fitzsimmons has exhibited nationally, internationally and online. In 2015 she had a solo show at The Griffin Museum of Photography, Winchester, MA. Her most recent group exhibitions include, curated exhibits Eighties and Hearts at Concepto/Hudson Gallery, Hudson, NY; Three Decades of Change Reunion Exhibit at Artspace, New Haven, an invitational in which past curators selected an artist to exhibit, whose work had had an impact on them; Analog v. Digital, Foley Gallery, LES, NY, NY; and Art & Oppression, a curated CENTER exhibition at the Marion Center for Photographic Arts,Santa Fe, NM.
This past spring her work was selected by Robert Calafiore for the States Project of Lenscratch: Lenscratch: The States Project, http://lenscratch.com/2018/03/joan-fitzsimmons-the-states-project-connecticut/
Fitzsimmons’ work is in the permanent collections of The Griffin Museum of Photography, Winchester, MA; The Brooklyn Museum of American Art; The San Francisco Museum of Modern Art among others public and private collections. Curated flatfiles include The Flatfiles at Artspace, New Haven, CT, Pierogi Flatfiles, LES, NY, NY, and The Drawing Center at Carroll and Sons Gallery, Boston, MA. Fitzsimmons is represented in upstate NY by Concepto/Hudson Gallery, Hudson, NY
Currently Fitsimmons is a Professor at Norwalk Community College, Norwalk, CT. She has taught numerous workshops in the US and abroad. For five years she conducted an art class at Webster Correctional Institute, a men’s minimum security prison in Cheshire, CT.
B.F.A. Washington University School of Art, St. Louis, MO
M.F.A. The School of the Art Institute of Chicago, Chicago, IL
CAREER HIGHLIGHTS:
• 2015 solo exhibition of my Plant Life series at the Griffin Museum of Photography.
I was also pleased to have work in a number of interesting museum group exhibitions:
• Light From Illumination to Pure Radiance, San Francisco Museum of Modern Art, Curator Patty Carroll
• Dogs, The Museum of Contemporary Art, Chicago. IL; Curator Lynn Warren; Traveled under auspices of SITES
Group exhibitions:
• Three Decades of Change Reunion Exhibit, Artspace, New Haven, CT; invited by former curator
Eileen Doktorski who chose the collaboration between Jacek Malinowski & myself
• Fictitious Truth, Photographs by Tina Barney, Mary Frey and Joan Fitzsimmons, Real Art Ways,
Hartford, CT; Curated by Leslie Tonkonow
www.joanfitzsimmons.com
SMALL AND LARGE THOUGHT 196 by Joan Fitzsimmons
(Click on image for larger view)
(Click on image for larger view)
SMALL AND LARGE THOUGHT 205 by Joan Fitzsimmons
(Click on image for larger view)
(Click on image for larger view)
BURIED WISHES by Jo Fields
(Click on image for larger view)
(Click on image for larger view)
Jo Fields says, "I’ve always been the ‘odd’ person who notices things that others drive right by.
Whether it is frost on a window, oil iridescence in a water puddle, or the hidden flower, I love to bring those treasures to light through photography. I began my artistic interpretations as a flutist, but have been pursuing photography in earnest for about 5 years.
After college as a music major and a career in Healthcare Information Technology and project management, I became more involved in photography through travel and life events. Photography has become a therapeutic personal journey and is a fusion of emotional, technical, and creative processes.
My work revolves around themes of revealing the extraordinary in the ordinary, and highlighting the interdependence of humanity and nature. My goal is for others to experience a sense of peace and heightened awareness of our place in the world.
RECENT & UPCOMING EXHIBITIONS:
South x Southeast Gallery 2017 and 2018, Slow Exposures 2017 Honorable Mention, A Smith Gallery in Texas
Online: Photoplace Gallery
PUBLICATIONS:
Nashville Scene and Nashville Arts Magazine in 2016 and 2017 photography competitions
www.jofieldsphotography.com
Whether it is frost on a window, oil iridescence in a water puddle, or the hidden flower, I love to bring those treasures to light through photography. I began my artistic interpretations as a flutist, but have been pursuing photography in earnest for about 5 years.
After college as a music major and a career in Healthcare Information Technology and project management, I became more involved in photography through travel and life events. Photography has become a therapeutic personal journey and is a fusion of emotional, technical, and creative processes.
My work revolves around themes of revealing the extraordinary in the ordinary, and highlighting the interdependence of humanity and nature. My goal is for others to experience a sense of peace and heightened awareness of our place in the world.
RECENT & UPCOMING EXHIBITIONS:
South x Southeast Gallery 2017 and 2018, Slow Exposures 2017 Honorable Mention, A Smith Gallery in Texas
Online: Photoplace Gallery
PUBLICATIONS:
Nashville Scene and Nashville Arts Magazine in 2016 and 2017 photography competitions
www.jofieldsphotography.com
FLUTE REFLECTIONS by Jo Fields
(Click on image for larger view)
(Click on image for larger view)
WHILE MY GUITARS GENTLY SLEEP by Jo Fields
(Click on image for larger view)
(Click on image for larger view)
ORANGE SWIRL by JP Terlizzi
(Click on image for larger view)
(Click on image for larger view)
JP Terlizzi says, "My interest lies in the notions of identity and relationships and how these can be translated into a visual narrative.
The images are an introspective representation of my response to love, loss and vulnerability as they relate to self and family. Each item was carefully chosen, planned and arranged to be rich in information, conveying an honesty that reflects my own state of mind and emotions."
JP Terlizzi is a visual storyteller who uses photography to explore themes of memory, relationship, and identity. Drawing inspiration from his personal experiences he captures moments that convey narratives—whether the story is a framed moment that reveals something about family and home, or a poetic interpretation of a fading reality, the feeling of loss and detachment are recurring themes in his work.
Born and raised in the farmlands of Central New Jersey, JP currently lives in Manhattan.
His career spans thirty plus years as creative director for a boutique agency specializing in retail design.
He earned a BFA in Communication Design at Kutztown University of Pennsylvania and has studied photography at the International Center of Photography in New York and Maine Media College in Rockport ME.
His work has been exhibited in the United States and abroad including shows at The Center for Fine Art Photography, Fort Collins, CO, Umbrella Arts Gallery, New York, NY, Soho Photo Gallery, New York, NY, The Griffin Museum, Winchester, MA, Tilt Gallery, Scottsdale, AZ, A Smith Gallery, Johnson City, TX, Project Basho Gallery, Philadelphia, PA, Municipal Heritage Museum, Malaga, Spain, and The Berlin Foto Biennale, Berlin, Germany, among others.
He was named a Photolucida 2016 Critical Mass Finalist for his series Mother and was a 2015 Critical Mass Finalist for his series Hunter’s Calling which was also selected for the C4FAP Portfolio ShowCase Vol. 9 and ONWARD Compé '16.
His work has been featured in PDN, Lenscratch, L'oeil de la Photographie, All About Photo, The Photo Review, F-Stop and Abridged Magazine.
He also finds writing in the third person a little strange
www.jpterlizziphotography.com
The images are an introspective representation of my response to love, loss and vulnerability as they relate to self and family. Each item was carefully chosen, planned and arranged to be rich in information, conveying an honesty that reflects my own state of mind and emotions."
JP Terlizzi is a visual storyteller who uses photography to explore themes of memory, relationship, and identity. Drawing inspiration from his personal experiences he captures moments that convey narratives—whether the story is a framed moment that reveals something about family and home, or a poetic interpretation of a fading reality, the feeling of loss and detachment are recurring themes in his work.
Born and raised in the farmlands of Central New Jersey, JP currently lives in Manhattan.
His career spans thirty plus years as creative director for a boutique agency specializing in retail design.
He earned a BFA in Communication Design at Kutztown University of Pennsylvania and has studied photography at the International Center of Photography in New York and Maine Media College in Rockport ME.
His work has been exhibited in the United States and abroad including shows at The Center for Fine Art Photography, Fort Collins, CO, Umbrella Arts Gallery, New York, NY, Soho Photo Gallery, New York, NY, The Griffin Museum, Winchester, MA, Tilt Gallery, Scottsdale, AZ, A Smith Gallery, Johnson City, TX, Project Basho Gallery, Philadelphia, PA, Municipal Heritage Museum, Malaga, Spain, and The Berlin Foto Biennale, Berlin, Germany, among others.
He was named a Photolucida 2016 Critical Mass Finalist for his series Mother and was a 2015 Critical Mass Finalist for his series Hunter’s Calling which was also selected for the C4FAP Portfolio ShowCase Vol. 9 and ONWARD Compé '16.
His work has been featured in PDN, Lenscratch, L'oeil de la Photographie, All About Photo, The Photo Review, F-Stop and Abridged Magazine.
He also finds writing in the third person a little strange
www.jpterlizziphotography.com
THE PUZZLE by JP Terlizzi
(Click on image for larger view)
(Click on image for larger view)
WHITE SHIRT by JP Terlizzi
(Click on image for larger view)
(Click on image for larger view)
ONE PEAR by Katherine Goodman
(Click on image for larger view)
(Click on image for larger view)
"The late "Glass Labyrinths" of Josef Sudek have influenced Katherine Goodman in this work.
Goodman has taken several courses and workshops in photography. She has exhibited in a group exhibit at the Griffin Museum.
Contact: Katherine.Goodman0@gmail.com
Goodman has taken several courses and workshops in photography. She has exhibited in a group exhibit at the Griffin Museum.
Contact: Katherine.Goodman0@gmail.com
THREE CHERRIES by Katherine Goodman
(Click on image for larger view)
(Click on image for larger view)
TWO TULIPS by Katherine Goodman
(Click on image for larger view)
(Click on image for larger view)
BIG NANA POSED FOR DAD TOO by Kev Filmore
(Click on image for larger view)
(Click on image for larger view)
Kev Filmore says, "21 Magnolia Rd. is my childhood story about being raised by seemingly successful, but mentally ill parents in the 1960’s.
My mixed media work illustrates my search for the truth about my upbringing, which despite a happy facade, was riddled with addiction, sexual abuse and emotional neglect. I realized early on that life did not have to be miserable.
I had two worlds growing up, the one at home and the other one waiting just outside our front door and in my imagination. I learned to see beauty where shadows loomed. Examining the stuff of my childhood has revealed, reinforced, and left some questions still unanswered. I put the past back together, along with myself in the process.
Telling stories about my family over the years, people would always ask,
“How did you turn out so normal?”
“Every company needs a worrier and your mine, Mary Kevin!”
My father was a big exec in the music business and tried to run our family the same way. He appeared to know everything and was a charismatic liar. Even at nine, I knew I was being handed a raw deal. My Mom described living with him as walking on eggshells and we ran like the dickens when we heard the garage door go up!
21 Magnolia Rd. was my childhood address in Briarcliff Manor NY, during the sixties. People had no idea what went on in our house; and, most of the time, neither did we. My Mom was an artist who rarely made art and when she did, she was only fleetingly happy due to anxiety, depression, alcoholism and a myriad of physical ailments. I loved her very much and always tried my best to help.
Early on, I worked hard to become a good artist. I relied on art to escape the day to day. We were surrounded by dichotomies; creative brilliance wove its way through lies and stories. Beauty and ugliness were bed-partners and emotional chaos resulted. My parents seemed as good as they were bad. I was the oldest girl of four children and put in charge of the clan.
Rebelling against the misery and experiencing the sheer pleasure of making art has always been my lifeline. Art was my ticket to art school and adulthood where I have been left to ponder my beginnings. Collaging together my past, I tell my childhood story using Polaroid’s, B&W prints, drawings, artifacts, and recreations from memory to build my narrative. Mental illness was only whispered about when I was growing up.
21 Magnolia Rd. is my survival story of family love and hate, alongside the power of the arts to heal. In attempting to paint the picture my way, I find the strength to be myself, and the confidence to make new work.
"I was just lucky, I guess…"
After reviewing her 21 Magnolia Rd. series, photographer and educator, Larry Fink recently described Ms. Filmore’s mixed media prints as “expressive and illuminating familial theatre”.
Kev Filmore began her lifelong love of exploring processes that mix media while earning a BFA from University of the Arts in 1976 for illustration. She was featured in the New York Times, PDNEDU and PDN’s 2010 Annual for her work and teaching.
Her Dreamers series received a 2005 Golden Light Award and her Abandoned series earned second place Portfolio from PIEA in 2009. Ms. Filmore was a Nationally Honored Educator in 2016, and was awarded a Vivian Pomex Sabbatical for 2017-2018.
Images from her current series, 21 Magnolia Rd. have been selected by jurors Marvin Heiferman, Cig Harvey, Hamidah Glasgow, Gordon Stettinius, Ashby Nickerson, J.Sybylla Smith and Brian Paul Clamp to be included in exhibitions at Garrison Art Center, Tilt Gallery, The Griffin Museum, Candela Gallery and on The Curated Fridge, 2014 through 2018.
The project was featured in October 2017 issue #18 of The HAND Magazine and is in the PhotoPlace Online Gallery for Myths, Legends, and Dreams, juror Amy Holmes-George. Juror and curator Paula Tognarelli selected work from her Abandoned series for the Tree Talk exhibit at The Griffin Museum at Lafayette City Center through June 4 2018.
Ms. Filmore's solo exhibition and installation, 21 Magnolia Rd. is on view through May 6 2018, at Davis Orton Gallery in Hudson NY.
www.kevfilmorephoto.com
Image: 'Big Nana Posed for Dad Too'
My mixed media work illustrates my search for the truth about my upbringing, which despite a happy facade, was riddled with addiction, sexual abuse and emotional neglect. I realized early on that life did not have to be miserable.
I had two worlds growing up, the one at home and the other one waiting just outside our front door and in my imagination. I learned to see beauty where shadows loomed. Examining the stuff of my childhood has revealed, reinforced, and left some questions still unanswered. I put the past back together, along with myself in the process.
Telling stories about my family over the years, people would always ask,
“How did you turn out so normal?”
“Every company needs a worrier and your mine, Mary Kevin!”
My father was a big exec in the music business and tried to run our family the same way. He appeared to know everything and was a charismatic liar. Even at nine, I knew I was being handed a raw deal. My Mom described living with him as walking on eggshells and we ran like the dickens when we heard the garage door go up!
21 Magnolia Rd. was my childhood address in Briarcliff Manor NY, during the sixties. People had no idea what went on in our house; and, most of the time, neither did we. My Mom was an artist who rarely made art and when she did, she was only fleetingly happy due to anxiety, depression, alcoholism and a myriad of physical ailments. I loved her very much and always tried my best to help.
Early on, I worked hard to become a good artist. I relied on art to escape the day to day. We were surrounded by dichotomies; creative brilliance wove its way through lies and stories. Beauty and ugliness were bed-partners and emotional chaos resulted. My parents seemed as good as they were bad. I was the oldest girl of four children and put in charge of the clan.
Rebelling against the misery and experiencing the sheer pleasure of making art has always been my lifeline. Art was my ticket to art school and adulthood where I have been left to ponder my beginnings. Collaging together my past, I tell my childhood story using Polaroid’s, B&W prints, drawings, artifacts, and recreations from memory to build my narrative. Mental illness was only whispered about when I was growing up.
21 Magnolia Rd. is my survival story of family love and hate, alongside the power of the arts to heal. In attempting to paint the picture my way, I find the strength to be myself, and the confidence to make new work.
"I was just lucky, I guess…"
After reviewing her 21 Magnolia Rd. series, photographer and educator, Larry Fink recently described Ms. Filmore’s mixed media prints as “expressive and illuminating familial theatre”.
Kev Filmore began her lifelong love of exploring processes that mix media while earning a BFA from University of the Arts in 1976 for illustration. She was featured in the New York Times, PDNEDU and PDN’s 2010 Annual for her work and teaching.
Her Dreamers series received a 2005 Golden Light Award and her Abandoned series earned second place Portfolio from PIEA in 2009. Ms. Filmore was a Nationally Honored Educator in 2016, and was awarded a Vivian Pomex Sabbatical for 2017-2018.
Images from her current series, 21 Magnolia Rd. have been selected by jurors Marvin Heiferman, Cig Harvey, Hamidah Glasgow, Gordon Stettinius, Ashby Nickerson, J.Sybylla Smith and Brian Paul Clamp to be included in exhibitions at Garrison Art Center, Tilt Gallery, The Griffin Museum, Candela Gallery and on The Curated Fridge, 2014 through 2018.
The project was featured in October 2017 issue #18 of The HAND Magazine and is in the PhotoPlace Online Gallery for Myths, Legends, and Dreams, juror Amy Holmes-George. Juror and curator Paula Tognarelli selected work from her Abandoned series for the Tree Talk exhibit at The Griffin Museum at Lafayette City Center through June 4 2018.
Ms. Filmore's solo exhibition and installation, 21 Magnolia Rd. is on view through May 6 2018, at Davis Orton Gallery in Hudson NY.
www.kevfilmorephoto.com
Image: 'Big Nana Posed for Dad Too'
"My Dad loved to have my sister, Kate pose for him and had a long history of doing
the same with his mother, Big Nana. She was always willing to get in his pictures and couldn't understand why my mother went to bed instead."
DADS ICE by Kev Fillmore
(Click on image for larger view)
(Click on image for larger view)
"Drinking went on most of the time and my dad's ice was critical for us to keep just right for his V.O. and soda with a twist. My Mom liked scotch but, would drink anything
in a pinch. She even tried Head and Shoulders Shampoo, once. Dad always made sure to tell her that she was not an alcoholic." - Kev Fillmore
in a pinch. She even tried Head and Shoulders Shampoo, once. Dad always made sure to tell her that she was not an alcoholic." - Kev Fillmore
KATE WAS AFRAID OF BUGS by Kev Filmore
(Click on image for larger view)
"I was in charge of protecting my sister, Kate from spiders, dogs, scarey men...
It was not always possible for me to keep her safe and I never knew why she was so
frightened, then. She did not recall my father’s abuse until she was in her twenties." -Kev Fillmore
(Click on image for larger view)
"I was in charge of protecting my sister, Kate from spiders, dogs, scarey men...
It was not always possible for me to keep her safe and I never knew why she was so
frightened, then. She did not recall my father’s abuse until she was in her twenties." -Kev Fillmore
KITCHEN TABLE by Laura Noel
2016, Chromogenic Print, 20x16 inches
(Click on image for larger view)
2016, Chromogenic Print, 20x16 inches
(Click on image for larger view)
Laura Noel says of her series, "The Inside Dog Barks the Loudest', "A friend mentioned this phrase in a casual conversation about two years ago, and since then, I have been ruminating on these words.
The idea of the inside dog needles me because the meaning is both obvious and elusive. How can I be me and at the same time be standing outside of myself looking inward to see me?
How can I not understand more of myself since I am the person I know most intimately. This series consists mainly of photographs, but also includes collages and small installations, about my inner voice, the self, and why it matters or doesn’t, why that voice punishes and rewards me, pushes me forward and pulls me back.
It seems the inside dog can never be fully known, even though this beast is me.The pictures submitted here are self-portraits, but don’t literally depict my body or face, just as the dog/self is hidden. These images aren’t a diary either, rather they incorporate objects that suggest the act of creating - sewing, writing, cooking, foraging and so forth.I carefully selected objects that contain a personal meaning, but are also ordinary and universal.
These different materials work as a metaphor for making or changing or transforming. The raw material a person is born with is shaped by genetics and environment, but we also create ourselves to some extent. The struggle inherent in trying to become something or someone specific gives rise to the duality of the self.
An important subset of images in this series consists of Fuji Instax prints combined with the objects mentioned above. I ejected some of the Instax prints from the camera undeveloped, which means they are white. I exposed other Instax prints to the point of pure blackness, which obscures the underlying image.
These pictures are created in seconds right before the viewer’s eyes, yet they keep their secrets under a field of white or black. The flat, straightforward way this series was lit and photographed in the studio suggests that they might be commercial stock images, but each picture has a twist that pushes its meaning farther."
Laura Noel is a photographer, bookmaker and installation artist based in Atlanta. Noel’s work often explores different ways photography can be expressed as a transformational form of language, as well as aspects of her personal history. She was a 2015-2016 Walthall Fellow at the WonderRoot Arts Center and recipient of a 2016 Idea Capital Grant.
Her work is in the collection of The High Museum of Art, The George Eastman Museum, The Ogden Museum in New Orleans, North Carolina State’s Gregg Museum of Art and Design, MOCA GA and a number of private and public collections.
She received a BA in Public Policy Studies from Duke University and a MFA in Photography with Distinction from the University of Georgia. Her prints been featured in exhibitions at the Pingyao International Photography Festival in China, the Contemporary American Photography exhibition at the Internationale Fototage Festival in Mannheim, Germany, Gallery 24 in Berlin, United Photo Industries in New York City, The Rhode Island School of Design Museum, The Cleveland Museum of Art, The Museum of Contemporary Art Georgia, The Atlanta Contemporary Art Center, Davis Orton Gallery in upstate New York and Gallery 1401 in Philadelphia.
Her photographs have appeared on-line and in print in Photography Now, Hot Shoe (United Kingdom), Photography Quarterly, PHOTONEWS (Germany), Slate Magazine’s Behold Photo Blog, CNN Photo Blog, Lens Culture, Planet, Art News Daily, The Humble Arts Foundation, F-Stop Magazine, One One Thousand, South X Southeast, La Lettre de la Photographie, Conscientious, aCurator, Fraction Magazine and many others.
In 2012, her All’s Fair series inaugurated Fall Line Press’ Free Fall series of quarterly magazines featuring the work of one photographer.
Recently, Scotland’s Aglu Books published Withdrawn, a study of discarded library books. Her artist books are in the collections of the International Center of Photography library in New York, the Beinecke Rare Book & Manuscript Library at Yale University, the Savannah College of Art Design’s ACA Library of artist books, The Houston Museum of Fine Art, The Cleveland Art Institute, The Harry Ransom Center at the University of Texas and many private collections.
Recent installations include a commission, called Kaleidoscope, from Atlanta Celebrates Photography and the Metro Atlanta Rapid Transit Authority to convert a subway car into an art gallery, To Do at the Spruill Gallery, The Enchanted Forest of Books on the Atlanta Beltline, Give/Swap/Receive at Emory University, and The Empathy Experiment at ArtFields in the summer of 2017.
Noel says, "highlights of my career are: Having my work chosen for inclusion in the Eastman House Museum, The High Museum of Art Atlanta, The Ogden Museum, and many others. Doing the Arctic Circle Residency in 2017.
www.amaterialwitness.com
The idea of the inside dog needles me because the meaning is both obvious and elusive. How can I be me and at the same time be standing outside of myself looking inward to see me?
How can I not understand more of myself since I am the person I know most intimately. This series consists mainly of photographs, but also includes collages and small installations, about my inner voice, the self, and why it matters or doesn’t, why that voice punishes and rewards me, pushes me forward and pulls me back.
It seems the inside dog can never be fully known, even though this beast is me.The pictures submitted here are self-portraits, but don’t literally depict my body or face, just as the dog/self is hidden. These images aren’t a diary either, rather they incorporate objects that suggest the act of creating - sewing, writing, cooking, foraging and so forth.I carefully selected objects that contain a personal meaning, but are also ordinary and universal.
These different materials work as a metaphor for making or changing or transforming. The raw material a person is born with is shaped by genetics and environment, but we also create ourselves to some extent. The struggle inherent in trying to become something or someone specific gives rise to the duality of the self.
An important subset of images in this series consists of Fuji Instax prints combined with the objects mentioned above. I ejected some of the Instax prints from the camera undeveloped, which means they are white. I exposed other Instax prints to the point of pure blackness, which obscures the underlying image.
These pictures are created in seconds right before the viewer’s eyes, yet they keep their secrets under a field of white or black. The flat, straightforward way this series was lit and photographed in the studio suggests that they might be commercial stock images, but each picture has a twist that pushes its meaning farther."
Laura Noel is a photographer, bookmaker and installation artist based in Atlanta. Noel’s work often explores different ways photography can be expressed as a transformational form of language, as well as aspects of her personal history. She was a 2015-2016 Walthall Fellow at the WonderRoot Arts Center and recipient of a 2016 Idea Capital Grant.
Her work is in the collection of The High Museum of Art, The George Eastman Museum, The Ogden Museum in New Orleans, North Carolina State’s Gregg Museum of Art and Design, MOCA GA and a number of private and public collections.
She received a BA in Public Policy Studies from Duke University and a MFA in Photography with Distinction from the University of Georgia. Her prints been featured in exhibitions at the Pingyao International Photography Festival in China, the Contemporary American Photography exhibition at the Internationale Fototage Festival in Mannheim, Germany, Gallery 24 in Berlin, United Photo Industries in New York City, The Rhode Island School of Design Museum, The Cleveland Museum of Art, The Museum of Contemporary Art Georgia, The Atlanta Contemporary Art Center, Davis Orton Gallery in upstate New York and Gallery 1401 in Philadelphia.
Her photographs have appeared on-line and in print in Photography Now, Hot Shoe (United Kingdom), Photography Quarterly, PHOTONEWS (Germany), Slate Magazine’s Behold Photo Blog, CNN Photo Blog, Lens Culture, Planet, Art News Daily, The Humble Arts Foundation, F-Stop Magazine, One One Thousand, South X Southeast, La Lettre de la Photographie, Conscientious, aCurator, Fraction Magazine and many others.
In 2012, her All’s Fair series inaugurated Fall Line Press’ Free Fall series of quarterly magazines featuring the work of one photographer.
Recently, Scotland’s Aglu Books published Withdrawn, a study of discarded library books. Her artist books are in the collections of the International Center of Photography library in New York, the Beinecke Rare Book & Manuscript Library at Yale University, the Savannah College of Art Design’s ACA Library of artist books, The Houston Museum of Fine Art, The Cleveland Art Institute, The Harry Ransom Center at the University of Texas and many private collections.
Recent installations include a commission, called Kaleidoscope, from Atlanta Celebrates Photography and the Metro Atlanta Rapid Transit Authority to convert a subway car into an art gallery, To Do at the Spruill Gallery, The Enchanted Forest of Books on the Atlanta Beltline, Give/Swap/Receive at Emory University, and The Empathy Experiment at ArtFields in the summer of 2017.
Noel says, "highlights of my career are: Having my work chosen for inclusion in the Eastman House Museum, The High Museum of Art Atlanta, The Ogden Museum, and many others. Doing the Arctic Circle Residency in 2017.
www.amaterialwitness.com
LEGALPAD by Laura Noel
2016, Chromogenic Print, 20x16 inches
(Click on image for larger view)
2016, Chromogenic Print, 20x16 inches
(Click on image for larger view)
SAILING by Laura Noel
2016, Chromogenic Print, 20x16 inches
(Click on image for larger view)
2016, Chromogenic Print, 20x16 inches
(Click on image for larger view)
GENES SUITS by Laurie Blakeslee
(Click on image for larger view)
(Click on image for larger view)
Laurie Blakeslee says, "I began photographing the interior of my mother-in-law’s house shortly after the death of her husband.
This is the house where they raised five children and have lived since 1970. It is a large colonial-style brick house; two stories, six bedrooms, a huge yard with an adjacent vegetable garden.
It is located in Boise, Idaho, just a few houses away from the home I share with my family now.
My own childhood was spent moving from one apartment complex to the next. As I watch my mother-in-law go through her husband’s belongings, I am drawn to what the accumulation of objects over many decades tells us about life histories, and about the shifting meanings of spaces.
The house isn’t the same place it once was – it doesn’t serve the same purpose. Today, with the kids grown and moved away, it serves as a central gathering place. Yet it still retains remnants of the past. The family refers to the bedrooms as the “orange” room or the “blue” room, based on the colors the children chose to paint their rooms, even though those colors have long been painted over.
Throughout the house there are traces of a life – grandfather clock in the entryway, antique icebox at the back door, a sticker on the back of a bedroom door recalling the domestic conflict over the Vietnam War.
Items left behind or passed on may seem unrelated and arbitrary, but they are clues to who these people are. Some items have become invisible and have little meaning until seen through someone else’s eyes. I am interested in the value of material things and the way they are tied to people and their life histories."
Laurie Blakeslee has worked in photo-based media for over 20 years. She has exhibited nationally and internationally. Her work is held in many collections including: Boise Art Museum, Center for Creative Photography UA Tucson AZ, Colorado University, Rutgers Center for Innovative Print and Paper, University of Wisconsin-Madison.
Laurie is currently an Associate Professor of Art at BSU, where she teaches photography and coordinates the undergraduate Art Foundations program.
She received a BFA from Boise State University with an emphasis in painting and an MFA in photography from the University of Arizona in Tucson.
SELECTED EXHIBITIONS:
2018
• In the Garden: Public, Private, Spiritual, Portfolio Showcase, Davis Orton Gallery, Hudson, NY
• MEMORY, Midwest Center For Photography, Wichita, KS2017
• Eclipse, Blue Sky Gallery, Portland, OR
• Planes, Trains & Automobiles, 1650 Gallery, Los Angeles, CA
• Terrarium, Visual Arts Collective (VAC), Garden City, ID
• Summertime, A Smith Gallery, Johnson City, Texas, Juror Sandrine Hermand-Grisel
2016
• Land, Midwest Center for Photography, Wichita, KS, Juror Linda Robinson
• Bob’s Art Farm, Surel's Place, Garden City, ID2015
• Re-Picturing Photography, Union Street Gallery, Chicago, IL
• Plural “I”, Davis Orton Gallery, Hudson, NY
• PHOTO ’15, Multiple Exposures Gallery, Alexandria, VA. Juror Sarah Greenough
• AT HOME, Don’t Take Pictures, online gallery exhibit. Juror Kat Kieran donttakepictures.com/at-home
2014
• Coming from Afar: Prints from Printmakers from Across the United States and Abroad, Visual Art Center, University of Colorado at Boulder, Boulder, CO.
• FARM TO PLATE, Don’t Take Pictures, online gallery exhibit. Juror Kat Kieran donttakepictures.com/farm-to-plate/
2013
• Botanicals, The Kiernan Gallery, Lexington, VA. Juror Sharon Beals
2012
• Still Life: The Art of Arrangement, The Kiernan Gallery, Lexington, VA. Juror Jason Landry
LBlakeslee.com
This is the house where they raised five children and have lived since 1970. It is a large colonial-style brick house; two stories, six bedrooms, a huge yard with an adjacent vegetable garden.
It is located in Boise, Idaho, just a few houses away from the home I share with my family now.
My own childhood was spent moving from one apartment complex to the next. As I watch my mother-in-law go through her husband’s belongings, I am drawn to what the accumulation of objects over many decades tells us about life histories, and about the shifting meanings of spaces.
The house isn’t the same place it once was – it doesn’t serve the same purpose. Today, with the kids grown and moved away, it serves as a central gathering place. Yet it still retains remnants of the past. The family refers to the bedrooms as the “orange” room or the “blue” room, based on the colors the children chose to paint their rooms, even though those colors have long been painted over.
Throughout the house there are traces of a life – grandfather clock in the entryway, antique icebox at the back door, a sticker on the back of a bedroom door recalling the domestic conflict over the Vietnam War.
Items left behind or passed on may seem unrelated and arbitrary, but they are clues to who these people are. Some items have become invisible and have little meaning until seen through someone else’s eyes. I am interested in the value of material things and the way they are tied to people and their life histories."
Laurie Blakeslee has worked in photo-based media for over 20 years. She has exhibited nationally and internationally. Her work is held in many collections including: Boise Art Museum, Center for Creative Photography UA Tucson AZ, Colorado University, Rutgers Center for Innovative Print and Paper, University of Wisconsin-Madison.
Laurie is currently an Associate Professor of Art at BSU, where she teaches photography and coordinates the undergraduate Art Foundations program.
She received a BFA from Boise State University with an emphasis in painting and an MFA in photography from the University of Arizona in Tucson.
SELECTED EXHIBITIONS:
2018
• In the Garden: Public, Private, Spiritual, Portfolio Showcase, Davis Orton Gallery, Hudson, NY
• MEMORY, Midwest Center For Photography, Wichita, KS2017
• Eclipse, Blue Sky Gallery, Portland, OR
• Planes, Trains & Automobiles, 1650 Gallery, Los Angeles, CA
• Terrarium, Visual Arts Collective (VAC), Garden City, ID
• Summertime, A Smith Gallery, Johnson City, Texas, Juror Sandrine Hermand-Grisel
2016
• Land, Midwest Center for Photography, Wichita, KS, Juror Linda Robinson
• Bob’s Art Farm, Surel's Place, Garden City, ID2015
• Re-Picturing Photography, Union Street Gallery, Chicago, IL
• Plural “I”, Davis Orton Gallery, Hudson, NY
• PHOTO ’15, Multiple Exposures Gallery, Alexandria, VA. Juror Sarah Greenough
• AT HOME, Don’t Take Pictures, online gallery exhibit. Juror Kat Kieran donttakepictures.com/at-home
2014
• Coming from Afar: Prints from Printmakers from Across the United States and Abroad, Visual Art Center, University of Colorado at Boulder, Boulder, CO.
• FARM TO PLATE, Don’t Take Pictures, online gallery exhibit. Juror Kat Kieran donttakepictures.com/farm-to-plate/
2013
• Botanicals, The Kiernan Gallery, Lexington, VA. Juror Sharon Beals
2012
• Still Life: The Art of Arrangement, The Kiernan Gallery, Lexington, VA. Juror Jason Landry
LBlakeslee.com
PADDLE by Laurie Blakeslee
(Click on image for larger view)
(Click on image for larger view)
PILL DISPOSAL by Laurie Blakeslee
(Click on image for larger view)
(Click on image for larger view)
SURVEILLANCE by Lodiza LePore
(Click on image for larger view)
(Click on image for larger view)
Lodiza LePore says ,"If a new thought can enter the mind, even for the briefest moment, then change has a chance.
Through this work my aim is to deconstruct the American 'fog' & other fairy tales by exposing a critical view of the actual state of things, to reveal the true nature of human life stripped of pretenses that hide authentic feelings of loneliness, isolation & insecurity. Inspired by the notion that every split second is unique, I seek to expose the extraordinary from the ordinary.
This photographic vision has been featured in several publications, including B & W, The Photo Review & Creative Quarterly and shown in U.S. galleries from coast to coast, including European venues.
RECENT JURIED: PUBLICATIONS/AWARDS/EXHIBITIONS:
PUBLICATIONS:
2018 -- ArtAscent: "Happiness" Art & Literature Journal
2018 -- “As Above, So Below” by Edward Lent, book cover
2017 -- “Laban Movement” book cover for Geomantics Dance Analysis
2016 -- Street Photography Magazine: December Issue 2016 -- “Flight” Blurb Books/PhotoPlace Gallery
2016 -- “Changes” Blurb Books/Blank Wall Gallery 2016 -- ArtAscent: “Heat” Art & Literature Journal
2016 -- “Three Plays” by D. Harlan Wilson/Black Scat Books: cover
AWARDS:
2014 PH21 Gallery [Budapest] "Associate's Choice Award"
2011 & 2014 CQ35 Magazine – Award of Excellence
2011 & 2013 Black & White Magazine Portfolio- Spotlight & Merit awards
2012 WPGA Gala Awards (Street Photography) Honorable Mention - Publication Date: January 2013
2006 Women In Photography International [WIPI] “Decisive Moments” - exhibitor and honorable mention.
GALLERY GROUP SHOWS:
2018 "The Art of Resistance" Project Space 9, Bellows Falls, VT
2018 "MayDay! MayDay! MayDay!" Gallery At the Left Bank, Bennington, VT
2018 “Peripheral Visions” PH21 Gallery, Budapest, Hungary
2018 “Raised Voices” River Garden Gallery, Brattleboro, VT
2018 “Street Photography” Blank Wall Gallery, Athens, Greece
2017 “Travel” Blank Wall Gallery, Athens, Greece
2017 “Monochrome” Blank Wall Gallery, Athens, Greece
2017 “Punctum” PH21 Gallery, Budapest, Hungary
2017 “Sacred & Profane” Arc Gallery, San Francisco, CA
RECENT SOLO EXHIBITIONS:
2015 “The Circus Continues” Williamstown, MA 2013 “Circus on Broken Blvd” Photo Biennial/Open; Louisville, KY
2013 “Circus on Broken Blvd II” Bennington Museum, VT
Contact:
lodiza@comcast.net
[website is down/currently under construction]
Through this work my aim is to deconstruct the American 'fog' & other fairy tales by exposing a critical view of the actual state of things, to reveal the true nature of human life stripped of pretenses that hide authentic feelings of loneliness, isolation & insecurity. Inspired by the notion that every split second is unique, I seek to expose the extraordinary from the ordinary.
This photographic vision has been featured in several publications, including B & W, The Photo Review & Creative Quarterly and shown in U.S. galleries from coast to coast, including European venues.
RECENT JURIED: PUBLICATIONS/AWARDS/EXHIBITIONS:
PUBLICATIONS:
2018 -- ArtAscent: "Happiness" Art & Literature Journal
2018 -- “As Above, So Below” by Edward Lent, book cover
2017 -- “Laban Movement” book cover for Geomantics Dance Analysis
2016 -- Street Photography Magazine: December Issue 2016 -- “Flight” Blurb Books/PhotoPlace Gallery
2016 -- “Changes” Blurb Books/Blank Wall Gallery 2016 -- ArtAscent: “Heat” Art & Literature Journal
2016 -- “Three Plays” by D. Harlan Wilson/Black Scat Books: cover
AWARDS:
2014 PH21 Gallery [Budapest] "Associate's Choice Award"
2011 & 2014 CQ35 Magazine – Award of Excellence
2011 & 2013 Black & White Magazine Portfolio- Spotlight & Merit awards
2012 WPGA Gala Awards (Street Photography) Honorable Mention - Publication Date: January 2013
2006 Women In Photography International [WIPI] “Decisive Moments” - exhibitor and honorable mention.
GALLERY GROUP SHOWS:
2018 "The Art of Resistance" Project Space 9, Bellows Falls, VT
2018 "MayDay! MayDay! MayDay!" Gallery At the Left Bank, Bennington, VT
2018 “Peripheral Visions” PH21 Gallery, Budapest, Hungary
2018 “Raised Voices” River Garden Gallery, Brattleboro, VT
2018 “Street Photography” Blank Wall Gallery, Athens, Greece
2017 “Travel” Blank Wall Gallery, Athens, Greece
2017 “Monochrome” Blank Wall Gallery, Athens, Greece
2017 “Punctum” PH21 Gallery, Budapest, Hungary
2017 “Sacred & Profane” Arc Gallery, San Francisco, CA
RECENT SOLO EXHIBITIONS:
2015 “The Circus Continues” Williamstown, MA 2013 “Circus on Broken Blvd” Photo Biennial/Open; Louisville, KY
2013 “Circus on Broken Blvd II” Bennington Museum, VT
Contact:
lodiza@comcast.net
[website is down/currently under construction]
THE ARRANGEMENT 1 by Lodiza LePore
(Click on image for larger view)
(Click on image for larger view)
THE ARRANGEMENT 2 by Lodiza LePore
(Click on image for larger view)
(Click on image for larger view)
VANITAS: THE HEART 2018 Nancy Oliveri
SECOND PLACE
(Click on image for larger view)
SECOND PLACE
(Click on image for larger view)
Nancy Oliveri is an American artist born in Providence, Rhode Island.
She lives and maintains a photography studio practice in the Gowanus section of Brooklyn. She studied film, photography and conceptual art at the Hartford Art School in Hartford, CT
Her photographs have been selected extensively for juried group and solo competitions and exhibitions in the US and internationally including Budapest, Venice and Berlin.
Oliveri’s upcoming group exhibitions include The Still Life at A. Smith Gallery in Johnson, Texas curated by Kate Breakey and Flora & Fauna curated by Kat Kiernan at the South x Southeast Photo Gallery in Molena, Georgia.
She has been acknowledged by the Julia Margaret Cameron and Pollux awards and will be included in the 5th Biennial of Fine Art & Documentary Photography in Barcelona in October 2018.
In 2017 she completed a photographic fine art and documentary project on the Gowanus Canal.
Oliveri exhibited 52 images of unstaged dead wildlife and abstract images of contamination, iridescent oil slicks and industrial waste, plastic flowers and jellyfish in and around the Canal which was one of the most toxic waterways in the US. Her photo book titled GOWANUS was included in the Griffin Museum of Photography’s self-published photo book exhibition.
Her recent studio work in 2018 focuses on a staged Still Life series which evolved from the Canal images of dead birds floating in the canal. It’s inspired by the 16th Century Dutch and Flemish still life painting and also an homage to the early Victorian practice of staging post-mortem daguerreotypes by capturing images of the newly deceased.
The images have an element of the genres of Vanitas, of Nature Morte and serve as a larger metaphor for the seas and creatures of the natural world.
www.Nancyoliveriphotography.com
IG Nancy_Oliveri
She lives and maintains a photography studio practice in the Gowanus section of Brooklyn. She studied film, photography and conceptual art at the Hartford Art School in Hartford, CT
Her photographs have been selected extensively for juried group and solo competitions and exhibitions in the US and internationally including Budapest, Venice and Berlin.
Oliveri’s upcoming group exhibitions include The Still Life at A. Smith Gallery in Johnson, Texas curated by Kate Breakey and Flora & Fauna curated by Kat Kiernan at the South x Southeast Photo Gallery in Molena, Georgia.
She has been acknowledged by the Julia Margaret Cameron and Pollux awards and will be included in the 5th Biennial of Fine Art & Documentary Photography in Barcelona in October 2018.
In 2017 she completed a photographic fine art and documentary project on the Gowanus Canal.
Oliveri exhibited 52 images of unstaged dead wildlife and abstract images of contamination, iridescent oil slicks and industrial waste, plastic flowers and jellyfish in and around the Canal which was one of the most toxic waterways in the US. Her photo book titled GOWANUS was included in the Griffin Museum of Photography’s self-published photo book exhibition.
Her recent studio work in 2018 focuses on a staged Still Life series which evolved from the Canal images of dead birds floating in the canal. It’s inspired by the 16th Century Dutch and Flemish still life painting and also an homage to the early Victorian practice of staging post-mortem daguerreotypes by capturing images of the newly deceased.
The images have an element of the genres of Vanitas, of Nature Morte and serve as a larger metaphor for the seas and creatures of the natural world.
www.Nancyoliveriphotography.com
IG Nancy_Oliveri
NATURE MORTE: THE SEA 2018 by Nancy Oliveri
(Click on image for larger view)
(Click on image for larger view)
VANITAS: VEINS 2018 by Nancy Oliveri
from the series Post Mortem Portraits
(Click on image for larger view)
from the series Post Mortem Portraits
(Click on image for larger view)
FOUND THE WARM LIGHT by Naohiro Maeda
(Click on image for larger view)
(Click on image for larger view)
Naohiro Maeda says, "My work is an exploration of the mourning process.
These images I depicted are the fantasy for my comfort and solace.
Two years ago my close friend passed away, and I moved to the United States. These two strong experiences happened sequentially and created the disconnection I have never felt before.
Several places I encountered in the new school life like the parking garages and wharfs nurtured my vision of the world where I could meet angelic beings."
Naohiro Maeda was born and raised in Japan and moved into America in 2016, studying fine art photography in New England School of Photography in Boston, has the bachelor of arts in Keio University. Currently living in Salem, MA.
His food styling works are featured in Japanese magazines; Elle a table, Yogini, and Veggy.
His fine art photography works are featured in The Curated Fridge and Inside the Outside.
https://naohiromaeda.com/
These images I depicted are the fantasy for my comfort and solace.
Two years ago my close friend passed away, and I moved to the United States. These two strong experiences happened sequentially and created the disconnection I have never felt before.
Several places I encountered in the new school life like the parking garages and wharfs nurtured my vision of the world where I could meet angelic beings."
Naohiro Maeda was born and raised in Japan and moved into America in 2016, studying fine art photography in New England School of Photography in Boston, has the bachelor of arts in Keio University. Currently living in Salem, MA.
His food styling works are featured in Japanese magazines; Elle a table, Yogini, and Veggy.
His fine art photography works are featured in The Curated Fridge and Inside the Outside.
https://naohiromaeda.com/
REFLECTIONS by Naohiro Maeda
(Click on image for larger view)
(Click on image for larger view)
WHISPERING by Naohiro Maeda
(Click on image for larger view)
(Click on image for larger view)
PRISM 2018 by Nick Shepard
(Click on image for larger view)
(Click on image for larger view)
Nicholas Shepard says of his work, "My recent color photographs build off traditional painting to draw a connection between the rich history of still life and the contemporary material culture.
The pictures include materials that are typically hidden from view, but that are essential to creating images: gaffer’s tape, paint brushes, lighting grids. What’s more, my still lifes depict these everyday objects in playful, but refined, geometric compositions that challenge our expectations of space."
Shepard grew up in NYC and earned his MFA from the School of Visual Arts in 2011. He is currently based in Sacramento, and where he is a member of Axis Gallery, and an Assistant Professor of Photography at Sacramento State.
CAREER HIGHLIGHTS:
Axis Gallery, Sacramento, CA, 2018: Solo Show
The Schwa Show, juried selection, Emerge Gallery, Pitt County Arts Council, Greensboro, NC, Best in Show, 2017
Oregon Biennial Salon, Curated by Michelle Grabner, Disjecta, Portland, OR, 2016
New Directions, Detroit Center for Creative Photography, solo online exhibition, Detroit, MI, 2016
Photography Now 2015, Center for Photography at Woodstock, juried selection, Woodstock, NY, 2015
Review Santa Fe 100, juried selection, CENTER, Santa Fe, NM, 2014
Curate NYC, juried selection, Bill Hodges Gallery, New York City, 2011
www.nickshepard.com
IG: @nickeshep
The pictures include materials that are typically hidden from view, but that are essential to creating images: gaffer’s tape, paint brushes, lighting grids. What’s more, my still lifes depict these everyday objects in playful, but refined, geometric compositions that challenge our expectations of space."
Shepard grew up in NYC and earned his MFA from the School of Visual Arts in 2011. He is currently based in Sacramento, and where he is a member of Axis Gallery, and an Assistant Professor of Photography at Sacramento State.
CAREER HIGHLIGHTS:
Axis Gallery, Sacramento, CA, 2018: Solo Show
The Schwa Show, juried selection, Emerge Gallery, Pitt County Arts Council, Greensboro, NC, Best in Show, 2017
Oregon Biennial Salon, Curated by Michelle Grabner, Disjecta, Portland, OR, 2016
New Directions, Detroit Center for Creative Photography, solo online exhibition, Detroit, MI, 2016
Photography Now 2015, Center for Photography at Woodstock, juried selection, Woodstock, NY, 2015
Review Santa Fe 100, juried selection, CENTER, Santa Fe, NM, 2014
Curate NYC, juried selection, Bill Hodges Gallery, New York City, 2011
www.nickshepard.com
IG: @nickeshep
QUICK MASK 2017 by Nick Shepard
(Click on image for larger view)
(Click on image for larger view)
VASE 2017 by Nick Shepard
(Click on image for larger view)
(Click on image for larger view)
JESUS IN THE OLD CABIN, POWELL, TN 2015 by Rachel Boillot
(Click on image for larger view)
(Click on image for larger view)
Rachel Boillot says of her series, "Silent Ballad explores musical heritage America’s Appalachian region. Old-time music, faith, and story-telling all inform this portrait of place. These photographs were made along the serpentine mountain roads between Signal Mountain and Cumberland Gap, tracing Tennessee’s Cumberland Trail corridor. Listening to the sounds of revelation springing from deep in the hollow, I considered how this might translate to visual imagery. I’m still out somewhere on one of those roads – and I’m still listening.
I first went to Tennessee in the June of 2014. My intention was to spend two months making photographs for a Park Ranger. The subject matter remained opaque to me, but I needed a gig.
Folklorist, naturalist, and musician Bob Fulcher - who currently manages Tennessee’s Cumberland Trail State Scenic Park - was initially dismayed by my lack of knowledge regarding old-time country music. Turned out this was to be the focus of the job. Bob believes that preserving cultural resources is just as important as land conservation in this region, which is the more explicit prerogative of the Parks System. But, in Tennessee, music is “in the water,” as the saying goes. For this reason, Tennessee State Parks is the only parks system in the world with its own record label.
Before long, I found myself running a record label for a Park Ranger while camping in out in an old FEMA trailer from Hurricane Katrina without heat or water. But, put simply, I fell in love with the people who have become my adopted family and the place that has become my home."
Silent Ballad will be published by Daylight Books in Spring 2019 as well as the Cumberland Folklife series of documentary films."
SILENT BALLAD
“Down in the valley,
Valley so low
Hear the wind blow
Down in the valley,
Telling our story
Here's what it sings.”- Down in the Valley ballad, as collected by Carl Sandburg and published in The American Songbag, 1927.
Boillot is a photographer, film-maker, and educator based in Cumberland Gap, TN.
She holds a BA in Sociology from Tufts University, a BFA from the School of the Museum of Fine Arts, and an MFA in Experimental and Documentary Arts from Duke University. Her work has been funded by the Annenburg Foundation (Los Angeles, CA), the Riverview Foundation (Chattanooga, TN), the Tennessee Arts Commission (Nashville, TN), the Southern Documentary Fund (Durham, NC), and the National Endowment for the Arts (Washington, D.C.). She was recently awarded the 2017 PhotoNoLa Review Award.
Boillot teaches in the Art Department at Lincoln Memorial University while directing the Cumberland Folklife series of documentary films.
She recently completed a feature-length documentary film on Tennessee’s musical Sharp family, titled In That Valley of Gold. Silent Ballad will be published by Daylight Books in the Spring of 2019.
A second edition of the self-published volume Post Script will be re-issued in 2019. She recently joined the team at the Kentucky Documentary Photography Project.
www.rachelboillot.com
I first went to Tennessee in the June of 2014. My intention was to spend two months making photographs for a Park Ranger. The subject matter remained opaque to me, but I needed a gig.
Folklorist, naturalist, and musician Bob Fulcher - who currently manages Tennessee’s Cumberland Trail State Scenic Park - was initially dismayed by my lack of knowledge regarding old-time country music. Turned out this was to be the focus of the job. Bob believes that preserving cultural resources is just as important as land conservation in this region, which is the more explicit prerogative of the Parks System. But, in Tennessee, music is “in the water,” as the saying goes. For this reason, Tennessee State Parks is the only parks system in the world with its own record label.
Before long, I found myself running a record label for a Park Ranger while camping in out in an old FEMA trailer from Hurricane Katrina without heat or water. But, put simply, I fell in love with the people who have become my adopted family and the place that has become my home."
Silent Ballad will be published by Daylight Books in Spring 2019 as well as the Cumberland Folklife series of documentary films."
SILENT BALLAD
“Down in the valley,
Valley so low
Hear the wind blow
Down in the valley,
Telling our story
Here's what it sings.”- Down in the Valley ballad, as collected by Carl Sandburg and published in The American Songbag, 1927.
Boillot is a photographer, film-maker, and educator based in Cumberland Gap, TN.
She holds a BA in Sociology from Tufts University, a BFA from the School of the Museum of Fine Arts, and an MFA in Experimental and Documentary Arts from Duke University. Her work has been funded by the Annenburg Foundation (Los Angeles, CA), the Riverview Foundation (Chattanooga, TN), the Tennessee Arts Commission (Nashville, TN), the Southern Documentary Fund (Durham, NC), and the National Endowment for the Arts (Washington, D.C.). She was recently awarded the 2017 PhotoNoLa Review Award.
Boillot teaches in the Art Department at Lincoln Memorial University while directing the Cumberland Folklife series of documentary films.
She recently completed a feature-length documentary film on Tennessee’s musical Sharp family, titled In That Valley of Gold. Silent Ballad will be published by Daylight Books in the Spring of 2019.
A second edition of the self-published volume Post Script will be re-issued in 2019. She recently joined the team at the Kentucky Documentary Photography Project.
www.rachelboillot.com
MICHAEL'S GUITAR WHITLEYVILLE, TN 2016 by Rachel Boillot
(Click on image for larger view)
(Click on image for larger view)
PEACOCK FEATHER NORRIS, TN 2014 by Rachel Boillot
(Click on image for larger view)
--------------------------------------------
STILL LIFE 2.0 HOME PAGE:
http://nyphotocurator.com/still-life-2-0-yorgos-efthymiadis
FIRST PLACE:
http://nyphotocurator.com/still-life-2-0-yorgos-efthymiadis/first-place-winner-alison-a-smith-cut-hair-hydrangeas/1
SECOND PLACE:
http://nyphotocurator.com/still-life-2-0-yorgos-efthymiadis/second-place-winner-nancy-oliveri-the-heart/1
HONORABLE MENTIONS:
http://nyphotocurator.com/still-life-2-0-yorgos-efthymiadis/honorable-mentions-vanja-karas-awakenings-yelena-zhavoronkova-behind-the-scenes-one-elizabeth-hogeman-temporary-arrangement-no12/1
BEST SERIES:
http://nyphotocurator.com/still-life-2-0-yorgos-efthymiadis/best-series-alison-a-smith/1
EXHIBITION #1:
http://nyphotocurator.com/still-life-2-0-yorgos-efthymiadis/exhibition-1/1
EXHIBITION #2:
http://nyphotocurator.com/still-life-2-0-yorgos-efthymiadis/exhibition-2/1
EXHIBITION #3:
http://nyphotocurator.com/still-life-2-0-yorgos-efthymiadis/exhibition-3/1
(Click on image for larger view)
--------------------------------------------
STILL LIFE 2.0 HOME PAGE:
http://nyphotocurator.com/still-life-2-0-yorgos-efthymiadis
FIRST PLACE:
http://nyphotocurator.com/still-life-2-0-yorgos-efthymiadis/first-place-winner-alison-a-smith-cut-hair-hydrangeas/1
SECOND PLACE:
http://nyphotocurator.com/still-life-2-0-yorgos-efthymiadis/second-place-winner-nancy-oliveri-the-heart/1
HONORABLE MENTIONS:
http://nyphotocurator.com/still-life-2-0-yorgos-efthymiadis/honorable-mentions-vanja-karas-awakenings-yelena-zhavoronkova-behind-the-scenes-one-elizabeth-hogeman-temporary-arrangement-no12/1
BEST SERIES:
http://nyphotocurator.com/still-life-2-0-yorgos-efthymiadis/best-series-alison-a-smith/1
EXHIBITION #1:
http://nyphotocurator.com/still-life-2-0-yorgos-efthymiadis/exhibition-1/1
EXHIBITION #2:
http://nyphotocurator.com/still-life-2-0-yorgos-efthymiadis/exhibition-2/1
EXHIBITION #3:
http://nyphotocurator.com/still-life-2-0-yorgos-efthymiadis/exhibition-3/1
