THE NOCTURNAL HOURS: Diana H. Bloomfield & Constance Rose > EXHIBITION #1
EXHIBITION #1
Anatoly Suzdaltsev/ Abyss #2
Anatoly Suzdaltsev/ Bridge to Outland
Anatoly Suzdaltsev/ Firefly Way
If viewing on a computer click on arrow to read about Anatoly Suzdaltsev and continue to group exhibition.
Anatoly Suzdaltsev/Level of the Night
Anatoly Suzdaltsev/ Night Meadow
Anatoly Suzdaltsev/Sight
ANATOLY SUZDALTSEV:
Anatoly Suzdaltsev is a visual artist and photographer. Born in 1980 in South Ural, present time based in Almaty, Kazakhstan. He is a student at the Academy 'Fotografika'. Anatolycreates enigmatic worlds by blending documentary and art photography, weaving together objective reality with imaginative narratives and characters.
Anatoly's works has been selected in festivals and group exhibitions 'Rotterdam Photo Festival 2024' (Netherlands), 'Night Photography 2023' (Greece), 'Kuala Lumpur International Photoawards' (Malaysia) and were awarded Gomma Grant 2023 (Finalist), 2d ranked URBAN Book & Zine Award (Italy) and Bronze medal at FotoSlovo Award 2024.
www.instagram.com/vogeltorn
https://www.suzdaltsev.art
Anatoly Suzdaltsev is a visual artist and photographer. Born in 1980 in South Ural, present time based in Almaty, Kazakhstan. He is a student at the Academy 'Fotografika'. Anatolycreates enigmatic worlds by blending documentary and art photography, weaving together objective reality with imaginative narratives and characters.
Anatoly's works has been selected in festivals and group exhibitions 'Rotterdam Photo Festival 2024' (Netherlands), 'Night Photography 2023' (Greece), 'Kuala Lumpur International Photoawards' (Malaysia) and were awarded Gomma Grant 2023 (Finalist), 2d ranked URBAN Book & Zine Award (Italy) and Bronze medal at FotoSlovo Award 2024.
www.instagram.com/vogeltorn
https://www.suzdaltsev.art
Andy Maticorena Kajie /The Nocturnal Hours 1
Andy Maticorena Kajie/ The Nocturnal Hours 2
Andy Maticorena Kajie/ The Nocturnal Hours 3
Andy Maticorena Kajie/The Nocturnal Hours 4
Andy Maticorena Kajie/ The Nocturnal Hours 5
Andy Maticorena Kajie/ The Nocturnal Hours 6
ANDY MATICORENA KAJIE:
Andy Maticorena Kajie (b. Peru 2001) is a photo-based interdisciplinary artist who holds a BFA in Photography & Video from the School of Visual Arts (SVA) in New York City and is pursuing a Masters of Fine Arts at the University of Michigan. His work primarily focuses on the ephemeral relationship between photographic imagery, time, memory, and psychological disorders.
"It was in 2019 when my late photography professor Abby Robinson jokingly told me, "I think the daytime is too much light for you, you suck at photographing in the day!" It was painfully true then. I was using a medium format rangefinder with a low lens and shooting exclusively 3200 speed film. This was the foundation of my photographic practice. In the same way light is elusive to the film plane during these hours, I believe these are the times in which the deepest truths of any person you interact with can be unfolded. This set of images were taken in New York City, a place that harbors these chaotic scenes, hidden in between them, poetic backstories that are constantly being uncovered, sold to, stolen from, and dancing between the poetics of self realization and the uncertainty of chaos theory. I fell in love with the city and the split second stories I could tell with a camera during the night. These handful of images from New York City are a selection from my most recent body of work that parallels the ephemera of these relationships with my estrangement and immigration from my home country of Peru."
IMAGES FOR SALE-
sol - 24"H x 36" W
Archival pigment print
$650 unframed
Limited edition of 3 + 2 AP
Signed on back
deiform i - 28"H x 40" W
Archival pigment print
$850 unframed
Limited edition of 3 + 2 AP
Signed on back
deiform ii - 28"H x 40" W
Archival pigment print
$850 unframed
Limited edition of 3 + 2 AP
Signed on back
maudlin - 18"H x 24" W
Archival pigment print
$500 unframed
Limited edition of 3 + 2 AP
Signed on back
slow business - 24"H x 36" W
Archival pigment print
$650 unframed
Limited edition of 3 + 2 AP
Signed on back
sheer skirts - 40"H x 60" W
Archival pigment print
$1400 unframed
Limited edition of 3 + 2 AP
Signed on back
Contact: Andy Maticorena Kajie
kajie.andy@gmail.com
www.andykajie.com
www.instagram.com/andy.kajie
Andy Maticorena Kajie (b. Peru 2001) is a photo-based interdisciplinary artist who holds a BFA in Photography & Video from the School of Visual Arts (SVA) in New York City and is pursuing a Masters of Fine Arts at the University of Michigan. His work primarily focuses on the ephemeral relationship between photographic imagery, time, memory, and psychological disorders.
"It was in 2019 when my late photography professor Abby Robinson jokingly told me, "I think the daytime is too much light for you, you suck at photographing in the day!" It was painfully true then. I was using a medium format rangefinder with a low lens and shooting exclusively 3200 speed film. This was the foundation of my photographic practice. In the same way light is elusive to the film plane during these hours, I believe these are the times in which the deepest truths of any person you interact with can be unfolded. This set of images were taken in New York City, a place that harbors these chaotic scenes, hidden in between them, poetic backstories that are constantly being uncovered, sold to, stolen from, and dancing between the poetics of self realization and the uncertainty of chaos theory. I fell in love with the city and the split second stories I could tell with a camera during the night. These handful of images from New York City are a selection from my most recent body of work that parallels the ephemera of these relationships with my estrangement and immigration from my home country of Peru."
IMAGES FOR SALE-
sol - 24"H x 36" W
Archival pigment print
$650 unframed
Limited edition of 3 + 2 AP
Signed on back
deiform i - 28"H x 40" W
Archival pigment print
$850 unframed
Limited edition of 3 + 2 AP
Signed on back
deiform ii - 28"H x 40" W
Archival pigment print
$850 unframed
Limited edition of 3 + 2 AP
Signed on back
maudlin - 18"H x 24" W
Archival pigment print
$500 unframed
Limited edition of 3 + 2 AP
Signed on back
slow business - 24"H x 36" W
Archival pigment print
$650 unframed
Limited edition of 3 + 2 AP
Signed on back
sheer skirts - 40"H x 60" W
Archival pigment print
$1400 unframed
Limited edition of 3 + 2 AP
Signed on back
Contact: Andy Maticorena Kajie
kajie.andy@gmail.com
www.andykajie.com
www.instagram.com/andy.kajie
Bo Brout/Through the Subway Window
Bo Brout/House on a Hill
Bo Brout/ Cube Smart
Bo Brout /Big Boy Deli
Bo Brout/J Train
Bo Brout/Myrtle Ave
BO BROUT:
"I am an NYC local Photographer and I love the Night!
The World is full of angles and shadows, ancient and modern. Shades of gray, blue black and harsh yellow, and shocks of pink from sunsets. Sometimes, you just see the consequence of vision: a shaft of light, a color that can’t be named, a bolt of sunlight. There’s an amazing low-fi/hi-fi quality to human sight. Just look up to the skies, or down to the sidewalks and manhole covers, and you see centuries, right before your eyes. The imperfect work of machines, always cutting across your vision. This Point of view lends itself to the technique of Lomography. Spontaneity, portability, and most significantly, the integration of machine, light, history, shape, and accident. Our vision, naturally, is over-exposed or under-exposed, and sees things we can’t immediately define. The imperfect qualities and chemical reactions performed by film emulsion when exposed to light can also bring these effects into the imagination. Nothing is perfect and anything that is perfect is boring. The light flare, the discoloration caused by a reflection or something suddenly too bright, an image that can’t immediately be defined or categorized."
www.instagram.com/filmphotobo/#BO BROUT:
"I am an NYC local Photographer and I love the Night!
The World is full of angles and shadows, ancient and modern. Shades of gray, blue black and harsh yellow, and shocks of pink from sunsets. Sometimes, you just see the consequence of vision: a shaft of light, a color that can’t be named, a bolt of sunlight. There’s an amazing low-fi/hi-fi quality to human sight. Just look up to the skies, or down to the sidewalks and manhole covers, and you see centuries, right before your eyes. The imperfect work of machines, always cutting across your vision. This Point of view lends itself to the technique of Lomography. Spontaneity, portability, and most significantly, the integration of machine, light, history, shape, and accident. Our vision, naturally, is over-exposed or under-exposed, and sees things we can’t immediately define. The imperfect qualities and chemical reactions performed by film emulsion when exposed to light can also bring these effects into the imagination. Nothing is perfect and anything that is perfect is boring. The light flare, the discoloration caused by a reflection or something suddenly too bright, an image that can’t immediately be defined or categorized."
www.instagram.com/filmphotobo/#
"I am an NYC local Photographer and I love the Night!
The World is full of angles and shadows, ancient and modern. Shades of gray, blue black and harsh yellow, and shocks of pink from sunsets. Sometimes, you just see the consequence of vision: a shaft of light, a color that can’t be named, a bolt of sunlight. There’s an amazing low-fi/hi-fi quality to human sight. Just look up to the skies, or down to the sidewalks and manhole covers, and you see centuries, right before your eyes. The imperfect work of machines, always cutting across your vision. This Point of view lends itself to the technique of Lomography. Spontaneity, portability, and most significantly, the integration of machine, light, history, shape, and accident. Our vision, naturally, is over-exposed or under-exposed, and sees things we can’t immediately define. The imperfect qualities and chemical reactions performed by film emulsion when exposed to light can also bring these effects into the imagination. Nothing is perfect and anything that is perfect is boring. The light flare, the discoloration caused by a reflection or something suddenly too bright, an image that can’t immediately be defined or categorized."
www.instagram.com/filmphotobo/#BO BROUT:
"I am an NYC local Photographer and I love the Night!
The World is full of angles and shadows, ancient and modern. Shades of gray, blue black and harsh yellow, and shocks of pink from sunsets. Sometimes, you just see the consequence of vision: a shaft of light, a color that can’t be named, a bolt of sunlight. There’s an amazing low-fi/hi-fi quality to human sight. Just look up to the skies, or down to the sidewalks and manhole covers, and you see centuries, right before your eyes. The imperfect work of machines, always cutting across your vision. This Point of view lends itself to the technique of Lomography. Spontaneity, portability, and most significantly, the integration of machine, light, history, shape, and accident. Our vision, naturally, is over-exposed or under-exposed, and sees things we can’t immediately define. The imperfect qualities and chemical reactions performed by film emulsion when exposed to light can also bring these effects into the imagination. Nothing is perfect and anything that is perfect is boring. The light flare, the discoloration caused by a reflection or something suddenly too bright, an image that can’t immediately be defined or categorized."
www.instagram.com/filmphotobo/#
Douglas Hill /Night Flight No12
Douglas Hill/Night Flight No 3
Douglas Hill /Night Flight No 32
Douglas Hill /Night Flight No 41
Douglas Hill /Night Flight No 45
Douglas Hill /Night Flight No 55
DOUGLAS HILL:
"Night Flights is a nocturnal examination of public urban staircases. The series has been made over the past two years using digital cameras and common flashlights to produce archival pigment prints.
Where do I find myself? I’m not a night person, yet here I am moving, climbing, stumbling through the city after dark, a very different proposition than in daylight. There are very few people about at this hour, not that there are so many to be found on these staircases during the day, and I’m acutely aware of the proximity of nearby houses and apartments, some of them no more than a few feet from the stairs. Whether their lights are on or off it feels like an invasion of their privacy to be here, as if the occupants are unwillingly sharing their personal space with anyone who happens by. And I’m here with a camera and flashlight, no less. Remarkably, none of these people have taken offense at my presence or even so much as asked what I’m doing. Although I’ve given the question a great deal of thought, as one does when making photographs, there seems to be no easy answer.
The lowest and highest points of a public staircase are often difficult to find. There is no signage, no arrow pointing up or down, and with only a few exceptions, no sense of ceremony announcing their presence. The view from the bottom is usually unremarkable, while that at the top can be breathtaking. But the stairs themselves simply are, conveyances up and down. The population of the staircases shifts when night falls. During daylight hours, locals use them for exercise and to walk their dogs more than to get from one place to another. When the sun goes down they’re replaced by other creatures who quietly come out to do what they need to for survival. Coyotes can be heard yipping in the distance after a kill, while owls hoot and small ground animals scurry around in the darkness.
So much of my work has been dedicated to finding a way to define environments and the structures and objects that occupy them. This has often meant suppressing my personal point of view in favor of an apparently objective one. This is a false premise at best. Every decision that goes into making even the most clinical photographic rendering of a building, for instance, requires that subjective decisions be made. Angle of view, camera height, what’s included in the frame, time of day and time of year, which determine the angle of the sun, weather conditions, and so forth all go into determining what a photograph will look like. Less tangible, though, are the frame of mind of the photographer at the time of exposure, and their emotional responses to what they’re confronted with. With this series I have attempted to acknowledge what it felt like to be in these very specific places. By working in this manner I have come much closer to experiencing what drew me to the medium in the first place, leaving myself vulnerable to the anticipation of not knowing what lies beyond the next step of the staircase or turn of the path: the uncertainty of the outcome each time the shutter is released.
In the 1920s a network of staircases was built into the myriad hillsides that dotted the city during their development as residential neighborhoods. I’ve lived amidst these staircases for over 40 years, and yet had only had a marginal awareness of the extent of their existence until I began using them to get around on a regular basis. The stairs contain vestiges of all that has happened in their vicinity since they were built, as if trapped in concrete. Yes, there were Laurel and Hardy and the Three Stooges, who famously used them as film locations, but there have to have been a plethora of large and small dramatic events in people’s lives that played themselves out in these places unrecorded."
Douglas Hill is a visual artist who was born in London, England. At the age of five he moved with his Canadian parents to New York where he lived until coming to Los Angeles in 1968 where he lives to this day. He attained U.S. citizenship in 1990.
Hill began making photographs in 1969. His work has been shown at The Gilb Museum, Arcadia, CA; Midwest Center for Photography, Wichita, KS; PH21 Gallery, Budapest, Hungary; Berlin Blue Gallery, Berlin, Germany; G. Ray Hawkins Gallery, Santa Monica; The International Center for Photography, New York; Kunsthaus, Zurich; Friends of Photography, Carmel; Kunstgewerbemuseum, Zurich; Prairie State College, Chicago; The Photography Place, Philadelphia, Craig Krull Gallery, Santa Monica; The Huntington, San Marino and in publications: Frames Magazine, Volume 15; This Side of Paradise: Body & Landscape in Los Angeles Photography; Looking at Los Angeles; American Photo; Camera; 24 Hours in the Life of Los Angeles; The New Color.
Hill’s work is included in the collections of the Getty Museum, the Huntington, the Library of Congress, Center for Creative Photography, Center for Motion Picture Studies, Amon Carter Museum and he participated in The Los Angeles Documentary Project commemorating the bicentennial of Los Angeles, funded by the National Endowment for the Arts. Hill was also a Photolucida Critical Mass 200 Finalist in 2023.
Hill has taught photography at UCLA Extension since 1995 and has offered independent workshops and master classes since 2010.
Hill currently lives with Elayne Sawaya, his wife of 45 years, and their poodle, Niccolo Paganini, in the Silver Lake district of Los Angeles.
Images for Sale-
Night Flight No3- 17"H x 22" W
Archival paper
$800 unframed
Limited edition of 10
Signed on front
Night Flight No12- 22"H x 17" W
Archival paper
$800 unframed
Limited edition of 10
Signed on front
Night Flight No32- 22"H x 17" W
Archival paper
$800 unframed
Limited edition of 10
Signed on front
Night Flight No41- 22"H x 17" W
Archival paper
$800 unframed
Limited edition of 10
Signed on front
Night Flight No45- 17"H x 22" W
Archival paper
$800 unframed
Limited edition of 10
Signed on front
Night Flight No55- 22"H x 17" W
Archival paper
$800 unframed
Limited edition of 10
Signed on front
Contact-
Douglas Hill
douglas@douglashillphotography.com
www.douglashillphotography.com
www.instagram.com/douglashill_photo
"Night Flights is a nocturnal examination of public urban staircases. The series has been made over the past two years using digital cameras and common flashlights to produce archival pigment prints.
Where do I find myself? I’m not a night person, yet here I am moving, climbing, stumbling through the city after dark, a very different proposition than in daylight. There are very few people about at this hour, not that there are so many to be found on these staircases during the day, and I’m acutely aware of the proximity of nearby houses and apartments, some of them no more than a few feet from the stairs. Whether their lights are on or off it feels like an invasion of their privacy to be here, as if the occupants are unwillingly sharing their personal space with anyone who happens by. And I’m here with a camera and flashlight, no less. Remarkably, none of these people have taken offense at my presence or even so much as asked what I’m doing. Although I’ve given the question a great deal of thought, as one does when making photographs, there seems to be no easy answer.
The lowest and highest points of a public staircase are often difficult to find. There is no signage, no arrow pointing up or down, and with only a few exceptions, no sense of ceremony announcing their presence. The view from the bottom is usually unremarkable, while that at the top can be breathtaking. But the stairs themselves simply are, conveyances up and down. The population of the staircases shifts when night falls. During daylight hours, locals use them for exercise and to walk their dogs more than to get from one place to another. When the sun goes down they’re replaced by other creatures who quietly come out to do what they need to for survival. Coyotes can be heard yipping in the distance after a kill, while owls hoot and small ground animals scurry around in the darkness.
So much of my work has been dedicated to finding a way to define environments and the structures and objects that occupy them. This has often meant suppressing my personal point of view in favor of an apparently objective one. This is a false premise at best. Every decision that goes into making even the most clinical photographic rendering of a building, for instance, requires that subjective decisions be made. Angle of view, camera height, what’s included in the frame, time of day and time of year, which determine the angle of the sun, weather conditions, and so forth all go into determining what a photograph will look like. Less tangible, though, are the frame of mind of the photographer at the time of exposure, and their emotional responses to what they’re confronted with. With this series I have attempted to acknowledge what it felt like to be in these very specific places. By working in this manner I have come much closer to experiencing what drew me to the medium in the first place, leaving myself vulnerable to the anticipation of not knowing what lies beyond the next step of the staircase or turn of the path: the uncertainty of the outcome each time the shutter is released.
In the 1920s a network of staircases was built into the myriad hillsides that dotted the city during their development as residential neighborhoods. I’ve lived amidst these staircases for over 40 years, and yet had only had a marginal awareness of the extent of their existence until I began using them to get around on a regular basis. The stairs contain vestiges of all that has happened in their vicinity since they were built, as if trapped in concrete. Yes, there were Laurel and Hardy and the Three Stooges, who famously used them as film locations, but there have to have been a plethora of large and small dramatic events in people’s lives that played themselves out in these places unrecorded."
Douglas Hill is a visual artist who was born in London, England. At the age of five he moved with his Canadian parents to New York where he lived until coming to Los Angeles in 1968 where he lives to this day. He attained U.S. citizenship in 1990.
Hill began making photographs in 1969. His work has been shown at The Gilb Museum, Arcadia, CA; Midwest Center for Photography, Wichita, KS; PH21 Gallery, Budapest, Hungary; Berlin Blue Gallery, Berlin, Germany; G. Ray Hawkins Gallery, Santa Monica; The International Center for Photography, New York; Kunsthaus, Zurich; Friends of Photography, Carmel; Kunstgewerbemuseum, Zurich; Prairie State College, Chicago; The Photography Place, Philadelphia, Craig Krull Gallery, Santa Monica; The Huntington, San Marino and in publications: Frames Magazine, Volume 15; This Side of Paradise: Body & Landscape in Los Angeles Photography; Looking at Los Angeles; American Photo; Camera; 24 Hours in the Life of Los Angeles; The New Color.
Hill’s work is included in the collections of the Getty Museum, the Huntington, the Library of Congress, Center for Creative Photography, Center for Motion Picture Studies, Amon Carter Museum and he participated in The Los Angeles Documentary Project commemorating the bicentennial of Los Angeles, funded by the National Endowment for the Arts. Hill was also a Photolucida Critical Mass 200 Finalist in 2023.
Hill has taught photography at UCLA Extension since 1995 and has offered independent workshops and master classes since 2010.
Hill currently lives with Elayne Sawaya, his wife of 45 years, and their poodle, Niccolo Paganini, in the Silver Lake district of Los Angeles.
Images for Sale-
Night Flight No3- 17"H x 22" W
Archival paper
$800 unframed
Limited edition of 10
Signed on front
Night Flight No12- 22"H x 17" W
Archival paper
$800 unframed
Limited edition of 10
Signed on front
Night Flight No32- 22"H x 17" W
Archival paper
$800 unframed
Limited edition of 10
Signed on front
Night Flight No41- 22"H x 17" W
Archival paper
$800 unframed
Limited edition of 10
Signed on front
Night Flight No45- 17"H x 22" W
Archival paper
$800 unframed
Limited edition of 10
Signed on front
Night Flight No55- 22"H x 17" W
Archival paper
$800 unframed
Limited edition of 10
Signed on front
Contact-
Douglas Hill
douglas@douglashillphotography.com
www.douglashillphotography.com
www.instagram.com/douglashill_photo
Dustin Nguyen /Heading back in the Rain
Dustin Nguyen/Nightly Road
Dustin Nguyen/Nocturnal Skies
Dustin Nguyen/Open Trail
Dustin Nguyen/Strange Fruits
Dustin Nguyen/The Parking Lot
DUSTIN NGUYEN:
"The Nocturnal Hours have always been a comfort of mine to explore. I have always been intrigued by the silence, the stillness, and sometimes eerie aspects of the nocturnal hours. It is a time where I feel compelled to explore a world that seems familiar but is new to me in a different light. Whenever I go out and explore my local town here in Bloomington Indiana, I feel that the chaos of the day is erased and I step into a world that is surreal and otherworldly where the chaos has stopped and slumber away awaiting to be awakened again by the morning sun. The work you see here is a documentation of the other world that I explore. I catch moments of eeriness, stillness, and intrigue by what catches my attention in the nocturnal hours. What was once inhabited by human activity is now suddenly dead in its tracks, as though human existence has suddenly vanished and what we see is the aftermath of it."
Dustin Nguyen is currently a 3rd year graduate candidate at Indiana University Bloomington. His work explores the conceptual concerns of memory, time, existence, and space. He has recently won the John Beck Fellowship Award in photography.
www.instagram.com/dustinnguyenart
www.dustinnguyenart.com
"The Nocturnal Hours have always been a comfort of mine to explore. I have always been intrigued by the silence, the stillness, and sometimes eerie aspects of the nocturnal hours. It is a time where I feel compelled to explore a world that seems familiar but is new to me in a different light. Whenever I go out and explore my local town here in Bloomington Indiana, I feel that the chaos of the day is erased and I step into a world that is surreal and otherworldly where the chaos has stopped and slumber away awaiting to be awakened again by the morning sun. The work you see here is a documentation of the other world that I explore. I catch moments of eeriness, stillness, and intrigue by what catches my attention in the nocturnal hours. What was once inhabited by human activity is now suddenly dead in its tracks, as though human existence has suddenly vanished and what we see is the aftermath of it."
Dustin Nguyen is currently a 3rd year graduate candidate at Indiana University Bloomington. His work explores the conceptual concerns of memory, time, existence, and space. He has recently won the John Beck Fellowship Award in photography.
www.instagram.com/dustinnguyenart
www.dustinnguyenart.com
Emma Sywyj/Fireworks in Orte, Italy
Emma Sywyj/Neon Lights in Nanjing, China
Emma Sywyj/Sunset in Taxi in Nanjing, China
EMMA SYWYJ:
"My artwork aims to capture and show life at its most vibrant & exciting. The photographs I take encourage people to see the intricacies & beauty beyond the everyday. My artwork is often centred around my immediate environment and cultural identity, I also celebrate culture in all its varied forms all over the world. I have photographed Europe & Asia capturing these countries and cultures as I experience them. My work encourages viewers to feel awe and joy in the traveller's quest and the rewards that experiencing other cultures can bring whilst developing my own cultural identity through photography. My video art aims to highlight beauty and to see beyond the everyday too, and I like to showcase the magic of cinema and art itself by editing found footage from outtakes and screen tests together.
I am an award-winning artist and photographer that has been creating art for 20 years, 5 of those years I was based in London whilst studying photography at the Camberwell College of Arts at the UAL. From there I received a BA Honours in Photography & a Foundation Diploma in Art & Design. I have exhibited my artwork internationally in the US in New York, LA, Art Basel Miami & San Francisco, as well as in Europe in Athens in Greece and Budapest.
I have also exhibited nationally in the UK and London several times. I have been published in several art magazines in the UK and journals internationally and exhibited my video art work in galleries & film festivals around the globe."
Images for Sale:
Neon Lights in Nanjing, China - 23cm x 18cm
Digital C-Type print
Unframed
Edition 20
Signed on the back
Sunset in Taxi in Nanjing, China - 23cm x 18cm
Digital C-Type print
Unframed
Edition 20
Signed on the back
Fireworks in Orte, Italy - 20cm x 20cm
Digital C-Type print
Unframed
Edition 20
Signed on the back
Contact details: Emma Sywyj
Email address: emmasywyj@hotmail.com
www.instagram.com/esywyj/?hl=en-gb
www.emmasywyj.com
"My artwork aims to capture and show life at its most vibrant & exciting. The photographs I take encourage people to see the intricacies & beauty beyond the everyday. My artwork is often centred around my immediate environment and cultural identity, I also celebrate culture in all its varied forms all over the world. I have photographed Europe & Asia capturing these countries and cultures as I experience them. My work encourages viewers to feel awe and joy in the traveller's quest and the rewards that experiencing other cultures can bring whilst developing my own cultural identity through photography. My video art aims to highlight beauty and to see beyond the everyday too, and I like to showcase the magic of cinema and art itself by editing found footage from outtakes and screen tests together.
I am an award-winning artist and photographer that has been creating art for 20 years, 5 of those years I was based in London whilst studying photography at the Camberwell College of Arts at the UAL. From there I received a BA Honours in Photography & a Foundation Diploma in Art & Design. I have exhibited my artwork internationally in the US in New York, LA, Art Basel Miami & San Francisco, as well as in Europe in Athens in Greece and Budapest.
I have also exhibited nationally in the UK and London several times. I have been published in several art magazines in the UK and journals internationally and exhibited my video art work in galleries & film festivals around the globe."
Images for Sale:
Neon Lights in Nanjing, China - 23cm x 18cm
Digital C-Type print
Unframed
Edition 20
Signed on the back
Sunset in Taxi in Nanjing, China - 23cm x 18cm
Digital C-Type print
Unframed
Edition 20
Signed on the back
Fireworks in Orte, Italy - 20cm x 20cm
Digital C-Type print
Unframed
Edition 20
Signed on the back
Contact details: Emma Sywyj
Email address: emmasywyj@hotmail.com
www.instagram.com/esywyj/?hl=en-gb
www.emmasywyj.com
Gosia Machaczka /HOLLOW 2
Gosia Machaczka/ HOLLOW
Gosia Machaczka /Lone Driver
GOSIA MACHACZKA:
Swedish and Polish raised, Los Angeles based artist and photographer GosiaMachaczka knows that inspiration and creativity is not restricted to only one outlet. She is a portrait, product, and concert photographer driven by storytelling. Strong color stories, high contrast, and drama are frequently used in her work, channeling the glamour and grit of the LA lifestyle.
IMAGES FOR SALE
Lone Driver - 11"H x 14" W
Archival pigment print
$640 unframed
Limited edition of 20
Signed on back
HOLLOW - 11"H x 14" W
Archival pigment print
$640 unframed
Limited edition of 20
Signed on back
HOLLOW 2 - 11"H x 14" W
Archival pigment print
$640 unframed
Limited edition of 20
Signed on back
Contact: Gosia Machaczka
gosiamachaczkaphotography@gmail.com
www.gosiamachaczka.com
www.instagram.com/gosiamachaczka
Swedish and Polish raised, Los Angeles based artist and photographer GosiaMachaczka knows that inspiration and creativity is not restricted to only one outlet. She is a portrait, product, and concert photographer driven by storytelling. Strong color stories, high contrast, and drama are frequently used in her work, channeling the glamour and grit of the LA lifestyle.
IMAGES FOR SALE
Lone Driver - 11"H x 14" W
Archival pigment print
$640 unframed
Limited edition of 20
Signed on back
HOLLOW - 11"H x 14" W
Archival pigment print
$640 unframed
Limited edition of 20
Signed on back
HOLLOW 2 - 11"H x 14" W
Archival pigment print
$640 unframed
Limited edition of 20
Signed on back
Contact: Gosia Machaczka
gosiamachaczkaphotography@gmail.com
www.gosiamachaczka.com
www.instagram.com/gosiamachaczka
Helen Fong/Dinner
HONORABLE MENTION
HONORABLE MENTION
Helen Fong/Evening Walk
Helen Fong/Late
Helen Fong/Looks Delicious
Helen Fong/Truck Stop
Helen Fong/Waiting
HELEN FONG:
"My passion for photography fuels me. Over the last thirty years, photography has introduced me to wonderful people, both as strangers who became friends for perhaps a moment or two, or perhaps for years. As a photographer I have learned to develop my sense of observation, of people, the natural world, of the big picture, of the nuances. I have learned to look for those behaviors and characteristics that define our humanity, our cultures, as well as learned to appreciate the symmetry and irregularities. I have learned to think “in the moment”, to anticipate both human and animal behavior, to observe, to initiate and invite interactions. I’ve learned to slow down, to observe, to “flow with the moment”, to wait … as well as to plan and overplan.
Through the years I've explored and enjoyed several photography genres, lifestyle and family photography, abstract and still life, photojournalism.
I live with my husband Glen in the Pacific Northwest near Seattle, Washington, United States."
www.helenfongphotography.com/
www.instagram.com/helenfongphotography.com
---------------------------------------------
THE NOCTURNAL HOURS HOME:
https://nyphotocurator.com/the-nocturnal-hours-diana-h-bloomfield-constance-rose
FIRST PLACE:
https://nyphotocurator.com/the-nocturnal-hours-diana-h-bloomfield-constance-rose/first-place-stuart-ratner-waterfront-club----/1
SECOND PLACE:
https://nyphotocurator.com/the-nocturnal-hours-diana-h-bloomfield-constance-rose/second-place-gosia-machaczka-hollow---/1
HONORABLE MENTIONS:
https://nyphotocurator.com/the-nocturnal-hours-diana-h-bloomfield-constance-rose/honorable-mentions-helen-fong-dinner-douglas-hill-night-flight-no-32-stefynie-rosenfeld-a-world-of-quiet---/1
BEST SERIES:
https://nyphotocurator.com/the-nocturnal-hours-diana-h-bloomfield-constance-rose/best-series-stuart-ratner/1
EXHIBITION #1:
https://nyphotocurator.com/the-nocturnal-hours-diana-h-bloomfield-constance-rose/exhibition-1/1
EXHIBITION #2
https://nyphotocurator.com/the-nocturnal-hours-diana-h-bloomfield-constance-rose/exhibition-2/1
"My passion for photography fuels me. Over the last thirty years, photography has introduced me to wonderful people, both as strangers who became friends for perhaps a moment or two, or perhaps for years. As a photographer I have learned to develop my sense of observation, of people, the natural world, of the big picture, of the nuances. I have learned to look for those behaviors and characteristics that define our humanity, our cultures, as well as learned to appreciate the symmetry and irregularities. I have learned to think “in the moment”, to anticipate both human and animal behavior, to observe, to initiate and invite interactions. I’ve learned to slow down, to observe, to “flow with the moment”, to wait … as well as to plan and overplan.
Through the years I've explored and enjoyed several photography genres, lifestyle and family photography, abstract and still life, photojournalism.
I live with my husband Glen in the Pacific Northwest near Seattle, Washington, United States."
www.helenfongphotography.com/
www.instagram.com/helenfongphotography.com
---------------------------------------------
THE NOCTURNAL HOURS HOME:
https://nyphotocurator.com/the-nocturnal-hours-diana-h-bloomfield-constance-rose
FIRST PLACE:
https://nyphotocurator.com/the-nocturnal-hours-diana-h-bloomfield-constance-rose/first-place-stuart-ratner-waterfront-club----/1
SECOND PLACE:
https://nyphotocurator.com/the-nocturnal-hours-diana-h-bloomfield-constance-rose/second-place-gosia-machaczka-hollow---/1
HONORABLE MENTIONS:
https://nyphotocurator.com/the-nocturnal-hours-diana-h-bloomfield-constance-rose/honorable-mentions-helen-fong-dinner-douglas-hill-night-flight-no-32-stefynie-rosenfeld-a-world-of-quiet---/1
BEST SERIES:
https://nyphotocurator.com/the-nocturnal-hours-diana-h-bloomfield-constance-rose/best-series-stuart-ratner/1
EXHIBITION #1:
https://nyphotocurator.com/the-nocturnal-hours-diana-h-bloomfield-constance-rose/exhibition-1/1
EXHIBITION #2
https://nyphotocurator.com/the-nocturnal-hours-diana-h-bloomfield-constance-rose/exhibition-2/1
