THE POETRY OF SHADOWS-Sandrine Hermand-Grisel > EXHIBITION #1
EXHIBITION #1
UNTITLED 1 by Amy Lowey
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A. Lowey says, "I am the caretaker to my ill husband. Robbed of both his health and mind he spends his days sitting in a chair watching television.
His dementia is a behavioral variant, he has become a different person. No longer a strong commanding figure with a sharp mind and a wicked sense of humor, he is now gentle and slow, unsteady on his feet, searching to make order of the few things he can understand.
We exist together and apart in this lonely place. He is oddly content in his diminished existence while I rail against it each step of the way. I would like to be able to say I am traveling through this heart wrenching ordeal with grace and dignity.
Each morning I steal away to spend time in the woods. On my morning hikes I prepare myself for the day ahead. In nature I consider the sayings which are so often said to me. I wonder if, despite his grim diagnosis, there are rays of hope. I’ve been advised it is darkest before dawn. I am told there will be a light at the end of the tunnel. So, I began to search for the light and stare into the darkness wondering if the answers are in there.
Last summer, after a difficult winter, I began to think that answers I have been looking for might not be in the light but in the darkness. In considering how to find the darkness which would reveal something to me, I knew that it would not be the all encompassing darkness of the night, with it’s absence of light.
I knew the darkness I needed to seek out was the darkness present in the blazing light. Opposites, vying for attention. I set out to discover what lay in the shadows, hoping that they would have something to offer me. Each day I walk and walk, hope and search and try to find my solace in the light and shadows.
After a 10 career in local photojournalism I decided it was time to follow my passion and reinvent myself as the fine art photographer I had always intended to become.
I earned my MFA in photography from The University of Hartford in 2015. Shortly after receiving my diploma my husband was no longer able to work, and began to experience rapid health and cognitive decline. In the four years since I have spent countless early morning hours the woods searching the trees, hills and shadows for reflections of my experience as a wife and caregiver.
As a still yet to be established fine art photographer, I have not had any commercial success (yet). I did participate in the Center Santa Fe portfolio review in 2017 where my work was received with much enthusiasm.
My last review of the weekend was with Jonathan Blaustein and he mentioned my series SYMBIOSIS on his blog as among the best he saw at the review."
http://aphotoeditor.com/2017/12/08/the-best-work-i-saw-at-review-santa-fe-part-2/"
www.alowey.virb.com
His dementia is a behavioral variant, he has become a different person. No longer a strong commanding figure with a sharp mind and a wicked sense of humor, he is now gentle and slow, unsteady on his feet, searching to make order of the few things he can understand.
We exist together and apart in this lonely place. He is oddly content in his diminished existence while I rail against it each step of the way. I would like to be able to say I am traveling through this heart wrenching ordeal with grace and dignity.
Each morning I steal away to spend time in the woods. On my morning hikes I prepare myself for the day ahead. In nature I consider the sayings which are so often said to me. I wonder if, despite his grim diagnosis, there are rays of hope. I’ve been advised it is darkest before dawn. I am told there will be a light at the end of the tunnel. So, I began to search for the light and stare into the darkness wondering if the answers are in there.
Last summer, after a difficult winter, I began to think that answers I have been looking for might not be in the light but in the darkness. In considering how to find the darkness which would reveal something to me, I knew that it would not be the all encompassing darkness of the night, with it’s absence of light.
I knew the darkness I needed to seek out was the darkness present in the blazing light. Opposites, vying for attention. I set out to discover what lay in the shadows, hoping that they would have something to offer me. Each day I walk and walk, hope and search and try to find my solace in the light and shadows.
After a 10 career in local photojournalism I decided it was time to follow my passion and reinvent myself as the fine art photographer I had always intended to become.
I earned my MFA in photography from The University of Hartford in 2015. Shortly after receiving my diploma my husband was no longer able to work, and began to experience rapid health and cognitive decline. In the four years since I have spent countless early morning hours the woods searching the trees, hills and shadows for reflections of my experience as a wife and caregiver.
As a still yet to be established fine art photographer, I have not had any commercial success (yet). I did participate in the Center Santa Fe portfolio review in 2017 where my work was received with much enthusiasm.
My last review of the weekend was with Jonathan Blaustein and he mentioned my series SYMBIOSIS on his blog as among the best he saw at the review."
http://aphotoeditor.com/2017/12/08/the-best-work-i-saw-at-review-santa-fe-part-2/"
www.alowey.virb.com
UNTITLED 2 by Amy Lowey
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UNTITLED 3 by Amy Lowey
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UNTITLED (HOUSE) by Anastasia Davis
SECOND PLACE
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SECOND PLACE
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Anastasia Davis says, "In my photographs, I explore the incongruity that I often experience between what I see and what I feel. I am interested in those states of being that exist somewhere on the fringes of awareness, that evoke personal mental space or tap into perceptual memories, and the ambiguity of meaning such images create."
Anastasia Davis was born in Ukraine in 1987 but grew up in Israel and the United States. She received a BA in psychology from Northwestern University, Evanston, IL in 2009, an MA from The Chicago School of Professional Psychology in 2011, and attended classes at the International Center for Photography in New York, NY between 2013-2014 . Her work is concerned with sensory and emotional experience before it is translated into meaning and what lies between perception and interpretation. She lives and works in Pittsburgh, PA.
www.anastasiadavisphoto.com
Anastasia Davis was born in Ukraine in 1987 but grew up in Israel and the United States. She received a BA in psychology from Northwestern University, Evanston, IL in 2009, an MA from The Chicago School of Professional Psychology in 2011, and attended classes at the International Center for Photography in New York, NY between 2013-2014 . Her work is concerned with sensory and emotional experience before it is translated into meaning and what lies between perception and interpretation. She lives and works in Pittsburgh, PA.
www.anastasiadavisphoto.com
UNTITLED (FLOWERS) by Anastasia Davis
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UNTITLED (STAIRS #3) by Anastasia Davis
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ANOTHER GASH IN FORT by Carter Conley
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Carter Conley explores places of pause and the slow disclosure of space and bodies. She is interested by the ways people and spaces interact, the ways sites take on a life of their own and the meaning we imbue on them.
Born and raised in West Virginia, Carter Conley lives and works in Brooklyn, New York. She is currently a MFA candidate at Hunter College, focusing on experimental video art.
http://www.carterconley.com
Born and raised in West Virginia, Carter Conley lives and works in Brooklyn, New York. She is currently a MFA candidate at Hunter College, focusing on experimental video art.
http://www.carterconley.com
ARC OF FORT by Carter Conley
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GASH IN FORT by Carter Conley
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WE HAD A GREAT TIME by Chel Delaney
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Chel Delaney says, "I love driving and wandering through the landscape and finding images that voluntarily offer themselves up from the natural and manmade environments.
My concentration and distillation of these elements are what I believe are imprinted in memory. These imprints range from the odd juxtaposition to the graphic to the painterly that are captured in memory and reshaped through time."
Chelle Delaney graduated from the University of South Carolina, where she studied English Literature. She later studied photography at the School of Visual Arts and the Southwest School of Arts in San Antonio, Texas.
My concentration and distillation of these elements are what I believe are imprinted in memory. These imprints range from the odd juxtaposition to the graphic to the painterly that are captured in memory and reshaped through time."
Chelle Delaney graduated from the University of South Carolina, where she studied English Literature. She later studied photography at the School of Visual Arts and the Southwest School of Arts in San Antonio, Texas.
BLUE GROVE by Chel Delaney
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COME BACK TOMORROW by Chel Delaney
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TWILIGHT 1 by Chris Ammon
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Christopher Ammon says, "My approach to documentary photography draws from templates I have acquired through the study of ancient mythology and creation epics.
Early in my practice I developed an understanding of allegory in myth and sacred texts and realized I could apply the same approach to any subject that captured my fascination.
I have found that my interest lies both in the stories of my subjects as well as the metaphysical dramas of consciousness and cosmic evolution they represent.
My aesthetic inspiration spans from 19th-century neoclassical and romantic painting, to contemporary cinema and documentary photography. While working I strive to capture viscerally evocative images and craft sequences that express a deep narrative, drawing on the influences of life, art and myth.
In my series Book of San Gabriel, I draw on inspiration from ancient Hebrew and Mesopotamian creation epics in combination with 19th century travelogues of the North American frontier to create a conceptual narrative using 35mm black & white landscape stills.
The concept documents the journey of a moth, a degenerate form of the Greek Psyche (the soul, symbolized in Greek myth by a butterfly), as it enters a cave and travels through the landscape of the primordial unconscious, witnessing the creation of the world and the emergence of human rational thought.
My aesthetic intent was to photograph inanimate forms found in nature as evocatively as possible in order to convey a sense of vitality and reflect their role in the metaphysical drama. The finished body of work is presented as a limited-edition collection of 11x14 archival silver gelatin prints with a cover design visually inspired by ancient artifacts and manuscripts like the Nag Hammadi.
Working within the timeless framework of myth and allegory lets me explore the widest variety of subjects possible. It allows my photography to cross subjects and topics while maintaining a cohesive sense of style, vision and authorship.
About my Submission:
The three images I am submitting come from my series Book of San Gabriel. In each of these images an organic form arises out of the earth's shadow, as if some hidden unknown force was producing them.
The tension during the transition between day and night perhaps touches on our own fear of darkness and the uncertainties it brings. A similar tension exists between our conscious and subconscious minds. It is a reminder that life is always on the brink of chaos and uncertainty, sanity and insanity, creation and destruction, day and night."
Chris Ammon was born in Los Angeles and studied Economics at California State University, Long Beach. He first learned to use a camera when he was 3 years old. The ocean always fascinated him and he learned SCUBA while he was still in high school. In 2002 he traveled through the United States by bicycle and again through Europe and New Zealand in 2005, taking tons of pictures.
Upon returning from his travels Chris built a darkroom in his apartment and taught himself to shoot, process and print film. In 2008 he was offered a video contributor contract with Getty Images Image Bank Film. Since then he has produced footage content used in advertising campaigns and broadcast media by companies like Apple, Warner Brothers, BBC and Vice Media among others.
Working as a filmmaker taught Chris how to shoot and build narratives and helped him develop an intuition for visual storytelling that is crucial to his work as a still photographer. In 2009 he worked as a photojournalist for a small town newspaper in rural Illinois.
In lieu of a formal photographic education he has attended workshops with the artists who inspire him, including Trent Parke and David Alan Harvey among others. Over the last 7 years he has produced three major bodies of work, The Farmhouse Zodiac, Book of San Gabriel, and Dark Seas. Chris’ storytelling approach is inspired by ancient mythological archetypes and the symbolism of the hero’s journey.
EXHIBITIONS AND PROJECTS
2019: Solo Exhibition Dark Seas, Alta Coffee, Newport, CA (October 2019)
Group Exhibition Highway 2: The Journey and the Destination, La Cañada Flintridge Public Library, La Cañada, CA
2018: Dark Seas, Artist’s book
The Chills, Artist’s book
2016: Book of San Gabriel, Photographic series
2013: The Farmhouse Zodiac, Photographic series
2012: Group Exhibition (as curator) Chicago Street Photography, Sip Coffee, Chicago, IL
2011: Anoche en Cuernavaca, Photographic series
2010: A Body For My Soul, Photographic series
PUBLICATIONS
2018: Book of San Gabriel, self-published photobook
2017: The Farmhouse Zodiac, self-published photobook
PROFESSIONAL EXPERIENCE
2009: Photojournalist, Morris Daily Herald
2008: Footage Contributor, Image Bank Film & Getty Images Editorial
www.chrisammonphoto.com
instagram: @chrispaulammon
Early in my practice I developed an understanding of allegory in myth and sacred texts and realized I could apply the same approach to any subject that captured my fascination.
I have found that my interest lies both in the stories of my subjects as well as the metaphysical dramas of consciousness and cosmic evolution they represent.
My aesthetic inspiration spans from 19th-century neoclassical and romantic painting, to contemporary cinema and documentary photography. While working I strive to capture viscerally evocative images and craft sequences that express a deep narrative, drawing on the influences of life, art and myth.
In my series Book of San Gabriel, I draw on inspiration from ancient Hebrew and Mesopotamian creation epics in combination with 19th century travelogues of the North American frontier to create a conceptual narrative using 35mm black & white landscape stills.
The concept documents the journey of a moth, a degenerate form of the Greek Psyche (the soul, symbolized in Greek myth by a butterfly), as it enters a cave and travels through the landscape of the primordial unconscious, witnessing the creation of the world and the emergence of human rational thought.
My aesthetic intent was to photograph inanimate forms found in nature as evocatively as possible in order to convey a sense of vitality and reflect their role in the metaphysical drama. The finished body of work is presented as a limited-edition collection of 11x14 archival silver gelatin prints with a cover design visually inspired by ancient artifacts and manuscripts like the Nag Hammadi.
Working within the timeless framework of myth and allegory lets me explore the widest variety of subjects possible. It allows my photography to cross subjects and topics while maintaining a cohesive sense of style, vision and authorship.
About my Submission:
The three images I am submitting come from my series Book of San Gabriel. In each of these images an organic form arises out of the earth's shadow, as if some hidden unknown force was producing them.
The tension during the transition between day and night perhaps touches on our own fear of darkness and the uncertainties it brings. A similar tension exists between our conscious and subconscious minds. It is a reminder that life is always on the brink of chaos and uncertainty, sanity and insanity, creation and destruction, day and night."
Chris Ammon was born in Los Angeles and studied Economics at California State University, Long Beach. He first learned to use a camera when he was 3 years old. The ocean always fascinated him and he learned SCUBA while he was still in high school. In 2002 he traveled through the United States by bicycle and again through Europe and New Zealand in 2005, taking tons of pictures.
Upon returning from his travels Chris built a darkroom in his apartment and taught himself to shoot, process and print film. In 2008 he was offered a video contributor contract with Getty Images Image Bank Film. Since then he has produced footage content used in advertising campaigns and broadcast media by companies like Apple, Warner Brothers, BBC and Vice Media among others.
Working as a filmmaker taught Chris how to shoot and build narratives and helped him develop an intuition for visual storytelling that is crucial to his work as a still photographer. In 2009 he worked as a photojournalist for a small town newspaper in rural Illinois.
In lieu of a formal photographic education he has attended workshops with the artists who inspire him, including Trent Parke and David Alan Harvey among others. Over the last 7 years he has produced three major bodies of work, The Farmhouse Zodiac, Book of San Gabriel, and Dark Seas. Chris’ storytelling approach is inspired by ancient mythological archetypes and the symbolism of the hero’s journey.
EXHIBITIONS AND PROJECTS
2019: Solo Exhibition Dark Seas, Alta Coffee, Newport, CA (October 2019)
Group Exhibition Highway 2: The Journey and the Destination, La Cañada Flintridge Public Library, La Cañada, CA
2018: Dark Seas, Artist’s book
The Chills, Artist’s book
2016: Book of San Gabriel, Photographic series
2013: The Farmhouse Zodiac, Photographic series
2012: Group Exhibition (as curator) Chicago Street Photography, Sip Coffee, Chicago, IL
2011: Anoche en Cuernavaca, Photographic series
2010: A Body For My Soul, Photographic series
PUBLICATIONS
2018: Book of San Gabriel, self-published photobook
2017: The Farmhouse Zodiac, self-published photobook
PROFESSIONAL EXPERIENCE
2009: Photojournalist, Morris Daily Herald
2008: Footage Contributor, Image Bank Film & Getty Images Editorial
www.chrisammonphoto.com
instagram: @chrispaulammon
TWILIGHT 2 by Chris Ammon
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TWILIGHT 3 by Chris Ammon
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UNTITLED 1 by Cindy Shung
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Cindy Shung says, "With macro-abstract photography, flowers are no longer flowers; shadows harmoniously entwine with colors and shapes; reality wilts while imagination blossoms.
These are part of my “Mind is Universe” project. The mysterious images are brainchild of observation and fantasy, do not represent the physical world, but convey suggestions and invite viewers’ perception to explore the otherworldly narratives. After all, one’s mind conceives the Universe one comprehends.
I was a Biochemist, Software Engineer, Cartographer, and an artist without formal training. I firmly believes in that photography is as expressive as Vermeer’s or Monet’s, as fictitious as Tolkien’s or Carroll’s; not merely records of the visible world. I have always been captivated with the fantasia hidden amidst surroundings. Unintentionally projecting feelings, attitude and experiences, I materializes images that can only be seen in my mind."
Career Highlights
2018, Don’t Take Pictures! The Photo of the Day, Apr-6-2018
2017 Chromatic Awards – International Color Photography Contest – Honorable Mention in Abstract (Amateur Category)
2017 Neutral Density Photography Awards – Honorable Mention in Nature: Flowers Category
2017 Neutral Density Photography Awards – Honorable Mention in Fine Art: Abstract Category
www.cindyshung.com
These are part of my “Mind is Universe” project. The mysterious images are brainchild of observation and fantasy, do not represent the physical world, but convey suggestions and invite viewers’ perception to explore the otherworldly narratives. After all, one’s mind conceives the Universe one comprehends.
I was a Biochemist, Software Engineer, Cartographer, and an artist without formal training. I firmly believes in that photography is as expressive as Vermeer’s or Monet’s, as fictitious as Tolkien’s or Carroll’s; not merely records of the visible world. I have always been captivated with the fantasia hidden amidst surroundings. Unintentionally projecting feelings, attitude and experiences, I materializes images that can only be seen in my mind."
Career Highlights
2018, Don’t Take Pictures! The Photo of the Day, Apr-6-2018
2017 Chromatic Awards – International Color Photography Contest – Honorable Mention in Abstract (Amateur Category)
2017 Neutral Density Photography Awards – Honorable Mention in Nature: Flowers Category
2017 Neutral Density Photography Awards – Honorable Mention in Fine Art: Abstract Category
www.cindyshung.com
UNTITLED 2 by Cindy Shung
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UNTITLED 3 by Cindy Shung
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HELOISE HADDAD by Claire Baldo
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Claire Clelia Baldo says, "
“Project 30|40. The title refers to the shooting time, which takes place between 30 and 40 seconds.
.
In this work, is questioned the identity that is transformed through the deformations of the movement. The body, the being is no longer known or recognized, it becomes something else.
Does identity exist or simply reflect what we believe to be? Who are we at that time in the game of masks? Of course, the beginning of an answer lies in the many facets that we hide and that belong to us secretly."
Claire Clelia Baldo’s path is divided between Italy and France. Her first experiences are in Rome. She approached art, architecture and cinema already at a very young age. In the years of her formative training,
Claire Clelia Baldo sharpens the need to understand humanity, the value of the dream, what it means to evade intimately from the self, the desire for travelling that later lead her to sojourn for long periods in Africa and Asia.
To live split between two worlds always involves a certain grade of instability and a condition of loneliness, which is also inside, in the deeper self. The artist looks at the reality perceptually, reassembles it sensitively and transcribes it outwardly in image, as if always looking for that ideal moment to stop at least for a little while and recognize who she is and from where.
The early development of compositional language fuelled by visions and insights to depict the reality trying to define her own sense of belonging that always slips away, to store and recall past experiences to recognize them as such, placing them in space and time and then incorporating them in the photographic image, they become signs of Claire Baldo’s urgency: to shape the meaning of her own identity, relying on the systematic but poetic use of the fragment.
The choice of the black and white, glazes and contrasts, the apparent abstraction of forms, the spaces of the female body caught in the vicinity of its essence that seem drawn in graphite or sketched in India ink, reveal a quality of the real returned through an oneiric transmutation process. As for an alchemist, time is always the key factor to this transmutation.
The image that emerges from the subconscious is shaped thoroughly by the mind when the waiting is prolonged, allowing the artist to observe it in all its details and structure it scenically to finally give it to the world as a work of art.
In the photographic practice of Claire Baldo this process is carried out because of a patient construction of an alphabet made of lines and complex forms long meditated, where symbolist influences of painters and designers such as Odilon Redon, Windsor McCay, Heinrich Kley, but also of poets and film masters such as Jean Cocteau, Orson Welles and Peter Greenaway, transpire.
Before earning a diploma in fine arts at the University of Paris-VIII (2000), Claire Baldo attended the Academy of Fine Arts in Rome and studied the performing arts at the "Cours Florent" in Paris. She specialized in graphic design and taught it for several years in the French capital. She refined her skills in graphic design in London (2008/11) and open the studios of graphic design Claire-Obscur (2001/11), Metacrea (2012-14, with designer Chris Hanke) and Mementika (from 2014).
In 2016 she moved to Venice where she met the photographer Piero Viti with whom she founded LABOTIV.
“Project 30|40. The title refers to the shooting time, which takes place between 30 and 40 seconds.
.
In this work, is questioned the identity that is transformed through the deformations of the movement. The body, the being is no longer known or recognized, it becomes something else.
Does identity exist or simply reflect what we believe to be? Who are we at that time in the game of masks? Of course, the beginning of an answer lies in the many facets that we hide and that belong to us secretly."
Claire Clelia Baldo’s path is divided between Italy and France. Her first experiences are in Rome. She approached art, architecture and cinema already at a very young age. In the years of her formative training,
Claire Clelia Baldo sharpens the need to understand humanity, the value of the dream, what it means to evade intimately from the self, the desire for travelling that later lead her to sojourn for long periods in Africa and Asia.
To live split between two worlds always involves a certain grade of instability and a condition of loneliness, which is also inside, in the deeper self. The artist looks at the reality perceptually, reassembles it sensitively and transcribes it outwardly in image, as if always looking for that ideal moment to stop at least for a little while and recognize who she is and from where.
The early development of compositional language fuelled by visions and insights to depict the reality trying to define her own sense of belonging that always slips away, to store and recall past experiences to recognize them as such, placing them in space and time and then incorporating them in the photographic image, they become signs of Claire Baldo’s urgency: to shape the meaning of her own identity, relying on the systematic but poetic use of the fragment.
The choice of the black and white, glazes and contrasts, the apparent abstraction of forms, the spaces of the female body caught in the vicinity of its essence that seem drawn in graphite or sketched in India ink, reveal a quality of the real returned through an oneiric transmutation process. As for an alchemist, time is always the key factor to this transmutation.
The image that emerges from the subconscious is shaped thoroughly by the mind when the waiting is prolonged, allowing the artist to observe it in all its details and structure it scenically to finally give it to the world as a work of art.
In the photographic practice of Claire Baldo this process is carried out because of a patient construction of an alphabet made of lines and complex forms long meditated, where symbolist influences of painters and designers such as Odilon Redon, Windsor McCay, Heinrich Kley, but also of poets and film masters such as Jean Cocteau, Orson Welles and Peter Greenaway, transpire.
Before earning a diploma in fine arts at the University of Paris-VIII (2000), Claire Baldo attended the Academy of Fine Arts in Rome and studied the performing arts at the "Cours Florent" in Paris. She specialized in graphic design and taught it for several years in the French capital. She refined her skills in graphic design in London (2008/11) and open the studios of graphic design Claire-Obscur (2001/11), Metacrea (2012-14, with designer Chris Hanke) and Mementika (from 2014).
In 2016 she moved to Venice where she met the photographer Piero Viti with whom she founded LABOTIV.
LILLI by Clair Baldo
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PIERO VITI by Claire Baldo
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AUTUMN by Connie Lowell
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Connie Lowell says, "When autumn begins and color and warmth slowly seep from the world, out come the shadows. Through my camera, I attempt to capture the tales they weave and stories they tell. By February, all life is gone and all that remains are the shadows. Then the light comes up, the shadows recede and the cycle begins anew."
Connie Lowell is a New England based artist whose work seeks to reveal what makes us uniquely human. Exploiting a variety of traditional and alternative photographic processes, her work explores themes of frailty, imperfection and the idiosyncrasies of daily human life and humanity.
Career Highlights: "I have been honored and thrilled to have my work included by jury in the following shows and exhibitions.
Arts Center East, Vernon CT - Open Show 2016
Vermont Center of Photography, Brattleboro VT - Open Show 2016
A Smith Gallery, Johnson City TX - Encaustic 2016
Art Intersection, Gilbert AZ - Light Sensitive 2017
Dark Room Gallery, Essex Junction VT - Black, White (& Blue) 2017
PhotoPlace Gallery, Middlebury VT - Intentional Spaces 2019
Midwest Center of Photography, Witchita KS - Human Representation 2019
www.connielowell.com
Connie Lowell is a New England based artist whose work seeks to reveal what makes us uniquely human. Exploiting a variety of traditional and alternative photographic processes, her work explores themes of frailty, imperfection and the idiosyncrasies of daily human life and humanity.
Career Highlights: "I have been honored and thrilled to have my work included by jury in the following shows and exhibitions.
Arts Center East, Vernon CT - Open Show 2016
Vermont Center of Photography, Brattleboro VT - Open Show 2016
A Smith Gallery, Johnson City TX - Encaustic 2016
Art Intersection, Gilbert AZ - Light Sensitive 2017
Dark Room Gallery, Essex Junction VT - Black, White (& Blue) 2017
PhotoPlace Gallery, Middlebury VT - Intentional Spaces 2019
Midwest Center of Photography, Witchita KS - Human Representation 2019
www.connielowell.com
SPRING by Connie Lowell
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WINTER by Connie Lowell
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HAUNTED BY SHADOWS by Daniel Heilig
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Daniel Heilig says, "I was born on the 30th of October 1985 in Budapest, Hungary. We moved to Germany when I was at the age of two. I grew up in the administrative district of Darmstadt and have been living Darmstadt (close to Frankfurt/Main) since 2011.
In terms of photography, I am trying to approach photography autodidactically as I haven't learned any techniques nor am I used to photography equipment. I never had a reflex or digital camera, I shot 100% with my smartphone only. As I am a digital native, my first encounter with photography was Instagram. I started with the iPhone 3Gs in 2011, followed by the iPhone 6S and since autumn 2018, I am shooting with the iPhone XS Max.
The reason why I shot with my smartphone is quite simple, it is immediate and reactive – it is all about capturing a moment without disturbing my environment with a huge camera setup. Additionally, a smartphone does not have all the technical capabilities, so I intentionally limit myself to only focus on the motif and not getting lost in all the parameters and functionalities of a proper camera.
For me, taking pictures is an opportunity to visualize my, mostly travel- driven, impressions and perceived feelings. I capture decisive moments and random occurring incidents in everyday life and while I travel around without creating a posed appearance. A huge influence is certainly coming from street and candid photography concepts.
I started to adapt this concept when I was traveling around as I found it quite interesting to keep this visualization concept while the cultural, geographical and architectural environment was constantly changing. An additional initial trigger was the fact that I was bored of both, the constantly recurring touristy pictures when people go sight-seeing and the corresponding self-displaying in front of places of interests.
I believe that whether it is the urban day-to-day life or the touristy journey of people, an aesthetical and artsy interpretation is possible. As an outstandingly characteristic, I mostly focus on the interaction and proportions of man and nature/urbanism."
www.danielheilig.com
In terms of photography, I am trying to approach photography autodidactically as I haven't learned any techniques nor am I used to photography equipment. I never had a reflex or digital camera, I shot 100% with my smartphone only. As I am a digital native, my first encounter with photography was Instagram. I started with the iPhone 3Gs in 2011, followed by the iPhone 6S and since autumn 2018, I am shooting with the iPhone XS Max.
The reason why I shot with my smartphone is quite simple, it is immediate and reactive – it is all about capturing a moment without disturbing my environment with a huge camera setup. Additionally, a smartphone does not have all the technical capabilities, so I intentionally limit myself to only focus on the motif and not getting lost in all the parameters and functionalities of a proper camera.
For me, taking pictures is an opportunity to visualize my, mostly travel- driven, impressions and perceived feelings. I capture decisive moments and random occurring incidents in everyday life and while I travel around without creating a posed appearance. A huge influence is certainly coming from street and candid photography concepts.
I started to adapt this concept when I was traveling around as I found it quite interesting to keep this visualization concept while the cultural, geographical and architectural environment was constantly changing. An additional initial trigger was the fact that I was bored of both, the constantly recurring touristy pictures when people go sight-seeing and the corresponding self-displaying in front of places of interests.
I believe that whether it is the urban day-to-day life or the touristy journey of people, an aesthetical and artsy interpretation is possible. As an outstandingly characteristic, I mostly focus on the interaction and proportions of man and nature/urbanism."
www.danielheilig.com
OMANI PALM by Daniel Heilig
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STREETS OF MANCHESTER by Daniel Heilig
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LENOIR R 01-15-3009 by Dan McCormack
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From 1973 to 1975 Dan McCormack was a founding member of the Woodstock Artists Co-Operative and he had a solo show with the Co-op.
In 1975 Dan joined the Catskill Center for Photography and served as Vice President of the Board of Directors for ten years. During that term, he had a solo show at CCFP and he participated by hanging every show with another director for the first ten years. During his time with CCFP, Dan curated several shows, one with the work of Aaron Sisikind, and another of photographers who were teaching photography in a college and another of early digital imagery.
.In 1982, Dan McCormack won a NYSCA-CAPS Photography Fellowship with a series of infrared nude images made of Wendy. With that series, he produced a monograph, "BODY LIGHT-Passages in a Relationship" in 1989.
In 1988, Dan joined Level 3 Gallery, a Co-Operative Photography Gallery in Philadelphia as a founding member. He participated in monthly shows and he had a solo exhibition celebrating the publishing of his monograph, “BODY LIGHT”..
In 1988, Dan McCormack became the director of the Art Gallery of the Art Department at the Dobbs Ferry campus of Mercy Collegey. During his year he curated several shows including a solo show of photographer Will Faller and of painter Nancy Ostrovsky.
In 1998 Dan began to work with pinhole camera photography. In 2009, he won the Ultimate Eye Foundation’s grant for Figurative Photography and had his work featured in an exhibition at the Peninsula Museum of Art in Belmont, CA.
In January 2010, Dan McCormack had a solo show at the Photography Center of the Capitol District in Troy, NY.
He showed over fifty images from ten diverse series made from 1990 to 2010. In May 2013, Dan had a solo show at the Barrett Art Center in Poughkeepsie, NY. In this exhibit he showed 28 images from his “Nude at Home” series. Then in January 2016 he had a solo show of the “Nude at Home” series at the Beacon Artists Union in Beacon, NY and in May of 2016, Dan had another show with newer images of the “Nude at Home” series at the Arts Upstairs Gallery in Phoenicia, NY.
Dan McCormack currently heads the film photography program at Marist College in Poughkeepsie, NY where he has taught for 27 years.
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Dan McCormack say, "In this series (The Nude), I use a cell phone camera. I had been photographing with a pinhole camera for about twenty years.
With the pinhole camera, I would make two minutes exposures and I would have only fifteen cameras. So everything was very deliberate. Now with the cell phonoe, I am very spontaneous. I am trying to see in the moment as an image occurs. My attempt is still to reveal an intimate portrait of the subject."
With the pinhole camera, I would make two minutes exposures and I would have only fifteen cameras. So everything was very deliberate. Now with the cell phonoe, I am very spontaneous. I am trying to see in the moment as an image occurs. My attempt is still to reveal an intimate portrait of the subject."
Dan McCormack studied Photography from 1962-1967 at the Institute of Design, the New Bauhaus, at the Illinois Institute of Technology in Chicago where he studied with Aaron Siskind, Arthur Siegal, Wynn Bullock and Joe Jachna. Next, he earned an MFA in Photography at the School of the Art Institute of Chicago from 1967 to 1970 having studied with Barbara Crane and Ken Josephson. He began photographing the nude with Wendy, his wife while in graduate school. Then for over forty years he explored various techniques and processes while photographing the nude as a central theme.
In 1971, Dan co-founded the Mombaccus Art Center in Accord which received NYSCA grants for two years. The center offered classes in photography, ceramics, painting, drawing, house building and mime. The Mombaccus Art Center had local and national shows every month. Dan McCormack curated a show of photographer Judith Steinhauser.From 1973 to 1975 Dan McCormack was a founding member of the Woodstock Artists Co-Operative and he had a solo show with the Co-op.
In 1975 Dan joined the Catskill Center for Photography and served as Vice President of the Board of Directors for ten years. During that term, he had a solo show at CCFP and he participated by hanging every show with another director for the first ten years. During his time with CCFP, Dan curated several shows, one with the work of Aaron Sisikind, and another of photographers who were teaching photography in a college and another of early digital imagery.
.In 1982, Dan McCormack won a NYSCA-CAPS Photography Fellowship with a series of infrared nude images made of Wendy. With that series, he produced a monograph, "BODY LIGHT-Passages in a Relationship" in 1989.
In 1988, Dan joined Level 3 Gallery, a Co-Operative Photography Gallery in Philadelphia as a founding member. He participated in monthly shows and he had a solo exhibition celebrating the publishing of his monograph, “BODY LIGHT”..
In 1988, Dan McCormack became the director of the Art Gallery of the Art Department at the Dobbs Ferry campus of Mercy Collegey. During his year he curated several shows including a solo show of photographer Will Faller and of painter Nancy Ostrovsky.
Dan McCormack has taught photography at Purdue University, Pratt Institute, SUNY New Paltz, Bard College, Mercy College, Ramapo College, Columbia-Green Community College, Somerset Community College, County College of Morris before coming to Marist College twenty-five years ago. He currently heads the Film Photography program at Marist College in Poughkeepsie, New York.
Dan McCormack began teaching an Advanced Seminar in Photography at the Mombaccus Art Center in 1971. The Seminar next moved to the Catskill Center for Photography for over ten years. In the mid 1980's Dan McCormack teamed up with Eric Lindbloom and they co-taught the Advanced Seminar in Poughkeepsie, next back at the Center for Photography in Woodstock, and then back again in Poughkeepsie atthe Barrett Art Center. In 2015 Eric Lindbloon stepped down and Michael Sabilia assumed the co-leader with Dan McCormack.
In 1998 Dan began to work with pinhole camera photography. In 2009, he won the Ultimate Eye Foundation’s grant for Figurative Photography and had his work featured in an exhibition at the Peninsula Museum of Art in Belmont, CA.
In January 2010, Dan McCormack had a solo show at the Photography Center of the Capitol District in Troy, NY.
He showed over fifty images from ten diverse series made from 1990 to 2010. In May 2013, Dan had a solo show at the Barrett Art Center in Poughkeepsie, NY. In this exhibit he showed 28 images from his “Nude at Home” series. Then in January 2016 he had a solo show of the “Nude at Home” series at the Beacon Artists Union in Beacon, NY and in May of 2016, Dan had another show with newer images of the “Nude at Home” series at the Arts Upstairs Gallery in Phoenicia, NY.
Dan McCormack currently heads the film photography program at Marist College in Poughkeepsie, NY where he has taught for 27 years.
LENOIR R 01-15-2230 by Dan McCormack
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LENOIR R 01-15--1745 by Dan McCormack
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NEARLY DONE by David Quinn
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David Quinn says, "Over the years, my interests have primarily centered on creating landscape and botanical images with an occasional venture into architectural and street photography. In many of my photographs I strive to evoke an emotion, raise an uncertainty or create a sense of movement either by isolating key elements or by blurring the subject matter."
Awards
Honorable Mention, Neutral Density, ND Awards, Online Exhibit, 2018
Honorable Mention, L.A. Photo Curator, Boundaries, Online Exhibit, 20
2nd Place, L.A. Photo Curator, The Human Relationship to Water, Online Exhibit, 2017
Best in Show, Photography Center of Cape Cod, Trees, Online Exhibit, 2015
Chosen for “Best of the Best” Emerging Fine Arts Photographers, 2014 by BWGallerist
Best in Show, Long Island Arts Council at Freeport, 34th Juried Photography Show, 2014, Freeport, NY
Darkroom Gallery Master, Darkroom Gallery, 2014, Essex Junction, VT
Honorable Mention, Maine Media Workshop, Dreams, 2013, Rockport, ME
Honorable Mention, Light Space & Time Gallery, Landscape, 2013, Online
Award of Merit, Maryland Federation of Art, American Landscapes, 2013, Annapolis, MD
3rd Place Photography, Light Space & Time Gallery, Botanicals, 2013, Online
Honorable Mention, Huntington Arts Council, Photography, 2013, Huntington, NY
Artistic Distinction, Stone Voices, Inspired by Joy, 2012, Online
Honorable Mention, Worldwide Photography Gala Awards, 2nd Urban and Country Landscape Competition, 2012, Online
1st Place, Chasing the Light, Flowers: Objects of Romance, Religion and Reproduction, 2012, Online
Honorable Mention, Long Island Center of Photography, Fifth Regional Juried Photography Exhibition, 2011, Hempstead, NY
1st Place, East End Arts Council, "3" Annual Photography Show, 2008, Riverhead, NY
Publications
"Ditch Plains", "Stony Brook Harbor II", "Sunlit", "Gilgo Beach II", The Woven Tale Press | Arts and Literary Journal, Vol. VI, #6, 2018
"Anemone Hidden Beauty", F-Stop Magazine, "Beauty/Beautiful", Issue No. 87, February-March, 2018
“What Remains 3”, F-Stop Magazine, ‘Where I Live”, October/November 2015, Issue No. 73
“What Remains 11” Still Point Arts Quarterly, Fall 2015, Issue No. 19
“Intimacy” portfolio, Shadow & Light Magazine, March/April 2015,Volume 1, Issue No. 4
“Long Ago”, The Sun, March 2015, Issue No. 471
“Nearly Done”, Still Point Arts Quarterly, Spring 2015, Issue No. 17
“Far Away”, The Photo Review, 2014, Volume 31, No. 1
“Reflections in a Stream”, Still Point Arts Quarterly, Fall 2014, Issue No.15
"Cold Sun", Still Point Arts Quarterly, Winter 2013, Issue No. 12
"Upon Awakening" portfolio, Stone Voices, Summer 2013, Issue No. 8
Juried Shows
My work has been exhibited in over 125 shows in 17 states and Spain, Turkey and Greece.
www.dquinnphotography.com
Awards
Honorable Mention, Neutral Density, ND Awards, Online Exhibit, 2018
Honorable Mention, L.A. Photo Curator, Boundaries, Online Exhibit, 20
2nd Place, L.A. Photo Curator, The Human Relationship to Water, Online Exhibit, 2017
Best in Show, Photography Center of Cape Cod, Trees, Online Exhibit, 2015
Chosen for “Best of the Best” Emerging Fine Arts Photographers, 2014 by BWGallerist
Best in Show, Long Island Arts Council at Freeport, 34th Juried Photography Show, 2014, Freeport, NY
Darkroom Gallery Master, Darkroom Gallery, 2014, Essex Junction, VT
Honorable Mention, Maine Media Workshop, Dreams, 2013, Rockport, ME
Honorable Mention, Light Space & Time Gallery, Landscape, 2013, Online
Award of Merit, Maryland Federation of Art, American Landscapes, 2013, Annapolis, MD
3rd Place Photography, Light Space & Time Gallery, Botanicals, 2013, Online
Honorable Mention, Huntington Arts Council, Photography, 2013, Huntington, NY
Artistic Distinction, Stone Voices, Inspired by Joy, 2012, Online
Honorable Mention, Worldwide Photography Gala Awards, 2nd Urban and Country Landscape Competition, 2012, Online
1st Place, Chasing the Light, Flowers: Objects of Romance, Religion and Reproduction, 2012, Online
Honorable Mention, Long Island Center of Photography, Fifth Regional Juried Photography Exhibition, 2011, Hempstead, NY
1st Place, East End Arts Council, "3" Annual Photography Show, 2008, Riverhead, NY
Publications
"Ditch Plains", "Stony Brook Harbor II", "Sunlit", "Gilgo Beach II", The Woven Tale Press | Arts and Literary Journal, Vol. VI, #6, 2018
"Anemone Hidden Beauty", F-Stop Magazine, "Beauty/Beautiful", Issue No. 87, February-March, 2018
“What Remains 3”, F-Stop Magazine, ‘Where I Live”, October/November 2015, Issue No. 73
“What Remains 11” Still Point Arts Quarterly, Fall 2015, Issue No. 19
“Intimacy” portfolio, Shadow & Light Magazine, March/April 2015,Volume 1, Issue No. 4
“Long Ago”, The Sun, March 2015, Issue No. 471
“Nearly Done”, Still Point Arts Quarterly, Spring 2015, Issue No. 17
“Far Away”, The Photo Review, 2014, Volume 31, No. 1
“Reflections in a Stream”, Still Point Arts Quarterly, Fall 2014, Issue No.15
"Cold Sun", Still Point Arts Quarterly, Winter 2013, Issue No. 12
"Upon Awakening" portfolio, Stone Voices, Summer 2013, Issue No. 8
Juried Shows
My work has been exhibited in over 125 shows in 17 states and Spain, Turkey and Greece.
www.dquinnphotography.com
REACHING OUT by David Quinn
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REACHING OUT IV by David Quinn
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-------------------------------
POETRY OF SHADOWS HOME:
https://nyphotocurator.com/the-poetry-of-shadows-sandrine-hermand-grisel
FIRST PLACE:
https://nyphotocurator.com/the-poetry-of-shadows-sandrine-hermand-grisel/first-place-la-sombra-by-sylvia-de-swaan/1
SECOND PLACE:
https://nyphotocurator.com/the-poetry-of-shadows-sandrine-hermand-grisel/second-place-winners-james-ritchie-night-lights-no-36-fuel-anastasia-davis-untitled-house-----/1
HONORABLE MENTIONS:
https://nyphotocurator.com/the-poetry-of-shadows-sandrine-hermand-grisel/honorable-mentions-lorenzo-formicola-denise-la2015-heather-barnes-textures-1-jo-ann-chaus-window-light-slim-blanks-untitled-1-frank-lynch-morning-sun-in-mrauk-oo-myanmar/1
BEST SERIES:
https://nyphotocurator.com/the-poetry-of-shadows-sandrine-hermand-grisel/best-series-marna-bell/1
EXHIBITION #1
https://nyphotocurator.com/the-poetry-of-shadows-sandrine-hermand-grisel/exhibition-1/1
EXHIBITION #2
https://nyphotocurator.com/the-poetry-of-shadows-sandrine-hermand-grisel/exhibition-2/1
EXHIBITION #3
https://nyphotocurator.com/the-poetry-of-shadows-sandrine-hermand-grisel/exhibition-3/1
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-------------------------------
POETRY OF SHADOWS HOME:
https://nyphotocurator.com/the-poetry-of-shadows-sandrine-hermand-grisel
FIRST PLACE:
https://nyphotocurator.com/the-poetry-of-shadows-sandrine-hermand-grisel/first-place-la-sombra-by-sylvia-de-swaan/1
SECOND PLACE:
https://nyphotocurator.com/the-poetry-of-shadows-sandrine-hermand-grisel/second-place-winners-james-ritchie-night-lights-no-36-fuel-anastasia-davis-untitled-house-----/1
HONORABLE MENTIONS:
https://nyphotocurator.com/the-poetry-of-shadows-sandrine-hermand-grisel/honorable-mentions-lorenzo-formicola-denise-la2015-heather-barnes-textures-1-jo-ann-chaus-window-light-slim-blanks-untitled-1-frank-lynch-morning-sun-in-mrauk-oo-myanmar/1
BEST SERIES:
https://nyphotocurator.com/the-poetry-of-shadows-sandrine-hermand-grisel/best-series-marna-bell/1
EXHIBITION #1
https://nyphotocurator.com/the-poetry-of-shadows-sandrine-hermand-grisel/exhibition-1/1
EXHIBITION #2
https://nyphotocurator.com/the-poetry-of-shadows-sandrine-hermand-grisel/exhibition-2/1
EXHIBITION #3
https://nyphotocurator.com/the-poetry-of-shadows-sandrine-hermand-grisel/exhibition-3/1
