Shaun Stamp-Born 1985, Wales UK to a mixed heritage background spanning native American, European, West African and Indian.

Stamp says, "I investigate my work through mixed-media; photography, object, installation, performance collaboration.

Using topics of identity, confessionalism, History, Memory and Self while looking at the world around to understand existence.

The work portrays a disjointed visual diary that lends itself to unfold before the viewer."

Shaun Stamp has been the artist resident in Armenian, Finland, UK, Netherlands and France with awards, prizes and recent shows nationally and internationally. 

Career Highlights include Co- Curating the first group show 'At The Violet Hour' 2018 with Chiara Williams Contemporary gallery and Turner Contemporary gallery.

www.shaunstamp.com
instagram.com/shaun_stamp

twitter: @ShaunAStamp
mob:    +447513136458
email:  shaunstamp@gmail.com
email:  info@shaunstamp.com
 

Rajmohan is a photographer based in New York. 

His work has been shown in several group exhibitions in the USA and the UK, including the Salmagundi Club (New York, NY, 2018); Blue Moon Camera and Machine (Portland, OR, 2017); Fazenda Gallery (London, UK, 2017); The Willow Tree (Johnson City, TN, 2017); and Soho Photo Gallery (New York, NY, 2012).

Rajmohan's works are also held in several private and corporate collections in Australia, Canada, Europe and the USA.  He was the recipient of a SCNY Award for Photography in 2018.

Rajmohan says, "My work is, in large part, a study of abstract architectural forms and aesthetics.  The submitted works are examples of my work which emphasize recurring patterns in modern architecture." 

www.rajmohanart.com

Pierre-Yves Linot says, of his series, 'Immigrant Song', "The inhumanity of Trump's policy against immigrants has aroused my anger. As an immigrant to the United States myself, this aggression has inspired me to start a new project.

Immigrant Song consists of diptychs, each one including the portrait of an immigrant and a still life of the arrangement he or she made with four stones.

The underlying idea is to shoot a double portrait, figural and abstract, physical and spiritual, from the outside and from the inside: one showing the face, the other something that the individuals have created.

These photographs are part of an ongoing project where I explore through interviews, written words, and objects what it means to be uprooted. With this work, I try to give a voice to immigrants and to let their pride shine through.

I use a Holga plastic lens to shoot my portraits and an alternative process to transfer my images to watercolor paper."

Pierre-Yves Linot is a French-born New York-based photographer. For over fifteen years, he has been making still life photography, as seen in his 4stones project.

In 2017, in response to Trump’s immigration policy, he started “Immigrant Song,” a series of diptychs, each one including the portrait of an immigrant and a still life of the arrangement he or she made with four stones. These photographs are part of an ongoing project where he explores through interviews, written words, and objects what it means to be uprooted.

He studied photography at the International Center of Photography (ICP) and the School of Visual Arts (SVA.)

Solo Shows-

2018 - Immigrant Song / New work / School of Visual Arts / NYC

2017 - Immigrant Song / Soho Photo Gallery / NYC

2015 - Thirteen New Steps / Soho Photo Gallery / NYC

2013 - In the Intimacy of the 4stones / Soho Photo Gallery / Governors’ Island Art Fair / NYC

2007 - 4stones in New York / Soho Photo Gallery / NYC

Group Shows-

2018 - 14th Annual National Alternative Processes Competition / Soho Photo Gallery / NYC

2018 - Art & Activism / Slideshow / School of Visual Arts Theater / NYC

2018 - 4th Annual Group Show / Davis Orton Gallery / Hudson / NY

2015 - It’s a Dog’s World! / Soho Photo Gallery / NYC

2015 - Alternative Processes Group Show / Soho Photo Gallery / NYC

2014 - The built environment / Soho Photo Gallery / Photoville / Brooklyn

Contact info
py.linot@gmail.co

Phillip Mudd is a multi-media artist and photographer from Benton City, WA who has exhibited work throughout the United States and internationally.

He is currently an Instructor at Washington State University where he works in support of both the Fine Arts and Digital Technology & Culture programs.

Mudd's work is informed by the curiosity that is the “everyday.” He is intrigued by the communities and social systems that encapsulate and influence the individual and culture of a region. Muddl investigates the routine relations that are often disregarded. Chiefly project based, his research explores the commonality of life of the individual and collective, and the included and marginalized. 

www.muddstain.net

Curator Ellen Wallenstein says, "1st place Oliver Raschka 'Static Tensions 45'- Intriguing because of its content and design; a sophisticated juxtaposition of fashion and war. On the left an image of a large photograph (a poster?), superimposed on or attached to a building.

On the right a shot of what looks to be an armored tank in an enclosed area - perhaps someone’s back yard?  Is it a toy? Is it real? Both sides deal with the determination of scale. That the photos are in black and white rather than color helps to place them in a timeless sphere, even if the fashion and size of the poster on the left are very much in the present.
 
I am interested in their juxtaposition and the message implied. The woman in the poster seems to be overseeing the tank in the yard- her expression is neutral but what she is looking at isn’t. (We can dress ourselves up, but where are we going to go?) There’s ominousness to the work, especially on the right with its dark shadows at the top pulling energy into a void. This is a very strong timely image."
 
Wallenstein asks Raschka, "Would you further explain the concept of your title Static Tensions?"
 
Raschka says, "Living in a city, we are used to the constant availability of shopping and leisure opportunities. However, our relationship to the omnipresence of mass media and advertising in urban spaces is ambivalent. In a positive way, media and advertising means prosperity, knowledge and modernity. But with the city being a shopping temple we also have to deal with issues of information and sensory overload, social exclusion and cultural decline. Which aspect prevails often depends on the situation and varies over time. Thereby, our view depends on the understanding of the social and economic order and culture of our society.to the architecture of buildings, shop windows, subway stations, and market places is where STATIC TENSIONS sets in. The series focuses on the visual overload of the individual due to an artificially created dream world. While walking the streets, the urban surroundings merge with the fictional media world of advertising and create something new. I want to show this fictional reality on the streets in a new way – through unusual perspectives and in black-and-white.

In a figurative sense STATIC TENSIONS stands for the fact that we live in times of global and local tensions. Personal, sociological, cultural, territorial and economic developments influence the individual and the society. STATIC TENSIONS, a term in mechanics, describes the point at which material breaks. This can be interpreted as a situation when viewpoints become blurred.

The presentation of the images as image pairs highlights the confusion of senses. At first sight, it seems that the former image has nothing to do with the latter, but it is the eye of the viewer, which holds these collages of perceptions together.
Also the single images are “true”. They are not digitally composed collages. Each photo was taken separately. One in Edinburgh, the other in Copenhagen and so on. When I'm at home, I print the single pictures and start to put them as double pictures until it fits.

Currently the series contains over 60 images [mostly dyptichs], taken across Europe."
 
Wallenstein asks, "How do you organize your archive?"
 
Raschka says, "As I work digitally for over ten years now the answer is obvious: hardrives and backups, backups, backups. But I also print a lot of my images. 
 
Over time and with more experience, I developed a three-step-process for my different long-term projects (I am running different long-term projects documenting the everyday of my sons and my homecity.): 1. new images, 2. nominees 3. final. Every image has to go through this process, and sometimes it takes a long time and the most of my images never reach the third step. I work very selective.  But I never delete an image. As storage is cheap, I buy new memory cards and keep the old ones."

Wallenstein asks, "Would you ever re-use a photograph in more than one diptych?"

Raschka says, "From today’s point of view I would say "No“, but never say never.

I also present the photographs as single images, because the Concept of content of STATIC TENSIONS is leading, not the presentation. The project contains some great pictures, which have no counterpart, because they are very complex even as single pictures. I also add pictures in landscape format, but in this case a Dyptich layout doesn't really fit."
 
Wallenstein asks, "Why do you work in black and white?"
 
Raschka says, "For STATIC TENSIONS, the absence of colour emphasizes the connections of these complex urban constructions, which are essential parts of human perception levels. Black-and-white alters reality in a very special way. It is all about light and structure, and it is timeless.

The combination of dyptich and black-and-white is the icing of the cake to confuse the senses of the viewer and to give new insights in the daily environment. STATIC TENSIONS is an example of how well-known urban traces can be found and interpreted. The images may not only engage people in the hidden beauty of their personal environment but also in the meaning of objects and media concepts of public spaces. Although there are no real people in the images, it is intriguing to recognize that man determines his entire environment.

As a result, STATIC TENSIONS shows the transformation of everyday motifs into an art form, without losing their urban rawness."
 
Additional review by curator Steve Grody:
"The composition… alignments, balance, rhythm are nicely put together. Even the smaller background blonde woman helping pull our gaze to the left along with the line of bricks to balance the diagonal of the fence  and left-side roof. And the human/machine juxtaposition (wouldn’t try to make meaning out of it on my own…) draws us in."
www.graffitiLA.com 
--------------------------
Oliver Raschka says of his series, "The World Is Not Enough At Seven O`Clock In The Morning', "No staging, no posing. Snapshots from real life, at home, while playing, after school, at sports, during shopping.

As a silent observer, I feel the daily here and now of my children. Not as a father, but as a photographer. A visual sociology of childhood in dramatic and engaging black and white images. Here, the window is a reflection of the past, the present, and the future.

For children, life is an adventure every day. But what is it like to be a child? What was it like to be a child? When you don’t have to worry about yesterday or tomorrow? When you just live for the moment? For adults childhood often seems like a desirable and endlessly ongoing time in life full of love, joy and safety, but from a child’s perspective it is also a rollercoaster of emotions, an eternal struggle between the child’s dependence and need for autonomy, self-discovery, fear, happiness, pain, hope and self-doubt.

Often the emotional state of a child suddenly changes at a moment’s notice. But it is everyday life that determines the lives of my children. I try to capture these unique moments in an honest way, as they come up in a natural manner. I don’t ask my sons to pose for me.

As I keep a camera on hand as often I can, I am able to record their life in a fluid way. For me, this long-term project is about the core of (street) photography: to capture the transitory in the contemporary, to find the extraordinary in the ordinary and thus to allow new perspectives on the known and finally to give subjective insights into a young family life that are universal at the same time. So these images are candid — not staged — but always unique."

Oliver Raschka is a photographer from Stuttgart, Germany. He studied economics and psychology. As a photographic autodidact he trained himself through numerous workshops with renowned photographers. He loves black-and-white photography, coffee is the drug of his choice, and loud rock music is what he likes. His photographs have been widely published in group and individual exhibitions as well as in international and national journals.
 
Career Highlights:

Galerie Fototreppe42 Hanau 2018 (solo show), Opus Fotopreis 2017 (Award), German Association of Craftsmen 2017 (group show), German Photographic Academy 2016 (portfolio show), Moscow Foto Awards 2016 (2nd Place), numerous publications, i. e. Schwarzweiss Magazin, Black+White Photography, Der Greif, London Independent Photography.


@oliverraschka 
www.oliverraschka.net

Nancy Stalnaker Bundy says, "My photography pre-visualization begins with experiences in a place -  recently with the Iron Range in Minnesota.

There is a feeling of collision between past and present on “the Range”: a tension between the way it was during the mining era and the way it exists today. Surrounded with history, the landscape speaks to me as I explore the details of the old mines and mining towns that suggest metaphors for the space and the people living there.

The title of the series, Range of Color, references the mixture of colors found on the Range including objects in decay, in the earth or water, or on mining sites. Color also references the features that lend a unique quality or character to the Range. In that context, other shades of meaning are implied.

My photography often demonstrates an interest in polarities – in the juxtaposition between the protected and the vulnerable, the old and the new, the relaxed and the methodical. I am fascinated with artifacts and their relationship to humanity. Intrigued with making connections, I enjoy the cultural codes they create and the visualization of the layers of meaning.

For over 25 years, I contributed to the field of media arts education through my teaching, writing curriculum, conference presentations and national committee work. 

I was honored with the two highest awards in visual arts education nationally for my work in cinematic arts and photography: the 2008 Coca Cola Distinguished Teacher in the Arts Award from Young Arts in Miami and the 2009 Teacher Portfolio Award at Carnegie Hall in New York City. I was also a recipient of a Surdna Artist Teacher Fellowship."

Nancy Stalnaker Bundy is a Minneapolis based artist, photographer and teacher. Her photographs and video art work have been exhibited nationally in group exhibitions including the Museum of Modern Art, American Film Institute, Albright Knox Art Gallery, SE Center for Photography, PH21 Gallery in Budapest, and the New York Center for Photographic Art.

She has received numerous grants and awards for her work. Most recently, she was the recipient of a 2018 Artist Initiative Grant from the Minnesota State Arts Board.

Four years ago, she left her full-time teaching position to pursue her personal work in photography. She holds an MFA from the State University of New York through the Visual Studies Workshop Program and a BFA from the Memphis College of Art.

www.nancybundy.com

Nadide Goksun says, "Water, the driving force of nature is also one of the main elements on my photography.

I also focus on water when I merge different images and create stories with diptychs.
I am a ceramic artist and photographer.

I studied computer programming at Bogazici University in Istanbul and Korean ceramics at Sungshin Women’s University in Seoul.My interest in photography turned into a passion as I started to study at the International Center of Photography in NYC.

I was born in Ankara, Turkey in 1967 and have lived in Istanbul, TelAviv and Seoul.I currently live in Scarsdale, New York."

Career Highlights:

Awards

2019
PH21 Gallery, Budapest, Hungary, International Juried Photography Exhibition, Honorable Mention, Feminine / Masculine

2018
A Smith Gallery, Johnson City TX, Juried Photography Exhibition, Director’s Award, Light
N.Y. Photo Curator, Juried Group Show, Honorable Mention, The Figure in the Landscape
New York Center for Photographic Art, Juried Group Show, Juror’s Selection and Honorable Mention, Summer 2018
N.Y. Photo Curator, Juried Group Show, Honorable Mention, Vibrant
Moscow International Foto Awards, Moscow, Juried Group Show, Honorable Mentions, Fine Art / Still Life -single picture and People / Children-series
ArtAscent International Art Magazine, Gold Artist Award, Happiness
Texas Photographic Society, TPS27 The International Juried Competition, Second Place
New York Center for Photographic Art, International Juried Photography Exhibition, Juror's Selection, Portals

Publications:

2018
Pastiche Magazine, Summer 2018,Portraits
ArtAscent International Art Magazine,Happiness

Selected Work :

2018-2017
More than 50 group exhibitions in Vermont, Oregon, SC, Texas, NYC, NY, Miami, Kansas, LA, Chicago, Halifax, Budapest, Rome and Moscow.

2015
Lens Culture, 21st Century Street Photography: 250 New Examples

www.nadidegoksun.comhttp://www.nadidegoksun.com

Michał Amerek says, "My name is Michał – /mēhou/ like me and how.

I make photos in my spare time. Well, at least I think so. I mean, I compose them and keep my finger on the pulse but sometimes I have the impression that they are actually staring at me. I’m interested in any form taken from the nature of watching.

At some point, I decided to go beyond the circle of friends and try various incentives. Since then, my photographs have been exhibited at: individual and group exhibitions, online and physically, from Kielce, through Budapest to Rome and New York.

- Career Highlights: 

    - The Print Swap Holiday Exhibition, group, ROOT Studios, New York, December 2018
    - Honorable Mention @ 3rd International Biennial of Photography, Space Definition, Kielce, Poland, November 2018
    - Plastic Exhibition, group, Loosen Art, Rome, September 2018
    - Solo exhibition, Landscape in Black and White, Kielce, Poland, March 2018
    - Honorable Mention @ Contrast Exhibition, Ph21 Gallery, Budapest, Hungary, July 2016

http://foto.michalamerek.pl

Martina Kändler says, "In my work I examine light as a means of creating and changing the appearance of space in different media.

I evolve my work within the contrast between strict compositions and an emotional impact, stringent conceptual thinking and an experimental approach, working with materiality and the immaterial ephemeric.

In various media I sound out these aspects in different scales. Architectural volumes are given a new rhythm through partializing walls of laser light. 

Kinetic light objects produce little universes in small boxes with peek holes, exploring and playing with light, color, motion and sound. Experiments with photographically captured situations produced in little paper models lead to various impressions of seemingly walkable space and volume.

Observations of natural light in the sky and forms of temporary housing in nature are the subject of documentary series of photography."

CV MARTINA KÄNDLER

Diploma of arts, Academy of fine Arts Nuremberg
Meisterschülerin by Prof. Eva von Platen, Academy of fine Arts Nuremberg
Magister Artium in art education, art history, and psychology, University of Augsburg

Selected exhibitions and projects-

2018 | topology | video installation and photography | S.Y.P. art space | Tokyo
2018 | out of the blue | presentation | shibaura house | Tokyo
2018 | international art week | Kristinestad | Finnland
2017 | Goldraum and Siebensachen | series of 6 photographs and an object | C.A.R. talents | contemporary art ruhr | innovative art fair | Zeche Zollverein Essen
2017 | grey space | series of 6 photographs | C.A.R. talents | contemporary art ruhr | media art fair | Zeche Zollverein Essen
2017 | rheology I | videoinstallation | mixed media residency showcase | New York
2017 | portal art fair 2017 | New York
2016 | lumino 1/9 | installation with kinetic light objects, video, and photography | Nuremberg
2016 | Plateau | laser installation | Herrenberg | light art festival „ascents“ Stuttgart
2016 | Vertex | permanent light installation in the public space of Herrenberg
2016 | 123 | video installation in public space | projection on the facade of the Norishalle Nuremberg
2016 | Basis ><1 | video installation | anniversary of the town twinning of Nuremberg and Krakow | gallery Dom Norymbersky Krakow Poland
2015 | light cube | laser installation | Blaue Nacht 2015 Nuremberg | 2. audience award
2014 | Agonist | video installation | exhibition series  NimmZwei | gallery Ecke Augsburg
2014 | light box | installation with kinetic light objects | monastery Aggsbach | Vienna
2014 | why photography matters | curated by Prof. Lars Blunck | exhibition with publication | academy of arts Nuremberg
2014 | Die Maschine | performative installation | group project at the academy of arts Nuremberg | funded by the Rotary Collection
2014 | Obszar Jasnosci | Martina Kändler und Maria Pyrlik | photography and installation | gallery Dom Norymbersky Krakow
2013 | in between spaces | laser installation | Blaue Nacht 2013 Nuremberg | 1. audience award

Awards and Residencies-

2018 | Artist in Residence | Kristinestad | Finnland
2017 | funding for young talents | contemporary art ruhr C.A.R. | innovative art fair | Zollverein Essen
2017 | funding for young talents | contemporary art ruhr C.A.R. | media art fair | Zollverein Essen
2017 | Artist in Residence | Con Artist Collective New York City
2016 | funding by the Rotary Collection Nueremberg | video project | Nuremberg
2015 | Meisterschülerin of Prof. Eva von Platen
2015 | 2. audience award | Blaue Nacht Nueremberg
2014 | funding by the Rotary Collection Nueremberg | performative installation | Nuremberg
2013 | 1. audience award | Blaue Nacht Nueremberg
2012 | 1. prize | art competition Ausstellungslabor #11 | Nueremberg
2011 | Smurfit Kappa art award | video project
topology, 2018
photography, pigmentprint behind acrylic glass, 14,8x21cm

The photographs reflect the theme of transition between different architectural volumes. The aspects of elaboration originate in a residency in Japan, where in the Buddhist temples the sacred hall with gold plated statues is often left in the dark with a few rays of sunlight as the only light source. Following this idea real gold leaf introduces a new color to the photographs, using reflection and mirroring of light. Darkness is deployed purposefully as a space generating matter. It introduces a form of curiosity for the secretive and reflects the topic “topology”, the movement in between two points in space, that implies facing the uncharted.

Image: in to, 2019 
photography, pigmentprint on aludibond, 60x90cm
   
www.martinakaendler.de

model/light/space, 2014
photography, pigmentprint on aludibond, 60x90cm

"This series of photographs was the first to explore different light-dark constellations as a means to simulate architecture. Space itself is created by illumination, whereas an intentional unsharp and vague focus provokes the illusion of large scale. The spectator is challenged by a scene that is both seemingly accessible but stays distant and intangible."

in to, 2019 
photography, pigmentprint on aludibond, 60x90cm

Linking the theme of transition with the process of getting in, these photographs give an idea of a space that is seductive and elusive, an invitation and a lack of invitation.


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HOME: DIPTYCHS
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FIRST PLACE:
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SECOND PLACE:
http://nyphotocurator.com/diptychs-ellen-wallenstein/second-place-julie-mihaly-notes-in-passing-ants-wallpaper-----/1

THIRD PLACE:
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HONORABLE MENTIONS:
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BEST SERIES:
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EXHIBITION #1:
http://nyphotocurator.com/diptychs-ellen-wallenstein/exhibition-1/1

EXHIBITION #2:
http://nyphotocurator.com/diptychs-ellen-wallenstein/exhibition-2/1

EXHIBITION #3:
http://nyphotocurator.com/diptychs-ellen-wallenstein/exhibition-3/1