Tuesday 24 May 2011
Monday 23 May 2011
Thursday 12 May 2011
Mikael Kennedy
Polaroids,
Mikael Kennedy is an admin polaroid photographer. He uses the medium of polaroids and the “accidents” of polaroids to create the spirit and mood of his images. everything from portraits to landscapes holds a mystic passionate mood, where you get the glimps of his world.
http://www.mikaelkennedy.com
Mikael Kennedy is an admin polaroid photographer. He uses the medium of polaroids and the “accidents” of polaroids to create the spirit and mood of his images. everything from portraits to landscapes holds a mystic passionate mood, where you get the glimps of his world.
http://www.mikaelkennedy.com
Tuesday 10 May 2011
Monday 9 May 2011
Friday 6 May 2011
Ina Jang
Without Words
Artist Statement
" I make images that are minimal and two-dimensional by layering people, places and things to precisely execute ideas, but with the intention of discarding information.
As I want the ideas to be tangible, the process becomes rigorously physical and related to my personal experience in terms of making photographs; it often contains cutting, gluing and pasting mundane objects from real life, such as paper and cotton balls. The photographs are often figurative and unidentified, casting a suspicion upon the photograph’s agenda. I allow the viewers to question whether they are truly subjects or merely objects. I strive to depict an image that remains pristine and foreign to the viewers.
My works explore concepts of photography and its physicality, while their contents rely hugely on a playful mind, inspired by the time I spent with my sister when we were isolated from family and friends. During this time, I developed a way of escaping from the desolation and existential ennui."
www.inaphotography.com
Artist Statement
As I want the ideas to be tangible, the process becomes rigorously physical and related to my personal experience in terms of making photographs; it often contains cutting, gluing and pasting mundane objects from real life, such as paper and cotton balls. The photographs are often figurative and unidentified, casting a suspicion upon the photograph’s agenda. I allow the viewers to question whether they are truly subjects or merely objects. I strive to depict an image that remains pristine and foreign to the viewers.
My works explore concepts of photography and its physicality, while their contents rely hugely on a playful mind, inspired by the time I spent with my sister when we were isolated from family and friends. During this time, I developed a way of escaping from the desolation and existential ennui."
www.inaphotography.com
Thursday 5 May 2011
Katarina Elvén
Suède
Artist Statement
"Photography and film have a huge impact on how we create and think about time and space. Our perception of those fundamental parameters is affected by the imagery itself. I am interested in how we read and interpret images, how pictures produce value and manufacture myths.
Using film and photography, I explore questions about aesthetics, surface and style, how the construction of the image is used to provoke feelings such as desire or a sense of uncanniness. I am also interested in photography as a technical medium, with its conventions and limitations.
This work attempts to tackle visual representations of the object and the ambiguous relationship between image and object. The objects used in these photographs are taken from the commercial sphere. They are objects that relate to the consumption of commodities, but they are not in themselves the actual commodity. I have based the aesthetics on the early advertising photography that developed in Europe in the late 1920s and early 1930s, a visionary aesthetics created by the modernist avant-garde with a strong belief in the close connection between visual form and ideology."
Using film and photography, I explore questions about aesthetics, surface and style, how the construction of the image is used to provoke feelings such as desire or a sense of uncanniness. I am also interested in photography as a technical medium, with its conventions and limitations.
This work attempts to tackle visual representations of the object and the ambiguous relationship between image and object. The objects used in these photographs are taken from the commercial sphere. They are objects that relate to the consumption of commodities, but they are not in themselves the actual commodity. I have based the aesthetics on the early advertising photography that developed in Europe in the late 1920s and early 1930s, a visionary aesthetics created by the modernist avant-garde with a strong belief in the close connection between visual form and ideology."
Wednesday 4 May 2011
Marie Quéau
Gojira,
This body of images is built around my fantasies as a Westerner about the Japanese island of Oshima, home of the Gojira monster. In Japanese movies from the 1960s, this prehistoric lizard served both as a metaphor of the United States and an allegory of nuclear weapons in general. The frightening beast was the product of nuclear testing and embodied the fear of numerous Japanese people towards the bombings that occurred in 1945.
This series deals with my personal vision of the island through its myths, its history and its landscapes. By means of assembly, editing and collage, I am able to create the right image of a place I have never been to. In my work, I especially try to focus on questions of scale and proportion, which is a way of reminding us that the atomic bomb connects the very small to the very powerful.
Artist Statement
" I work with the limits of photography, and play with its indicial character. Thus, this work presents images of an island that I have never visited and of which there are only a very few representations.
This body of images is built around my fantasies as a Westerner about the Japanese island of Oshima, home of the Gojira monster. In Japanese movies from the 1960s, this prehistoric lizard served both as a metaphor of the United States and an allegory of nuclear weapons in general. The frightening beast was the product of nuclear testing and embodied the fear of numerous Japanese people towards the bombings that occurred in 1945.
This series deals with my personal vision of the island through its myths, its history and its landscapes. By means of assembly, editing and collage, I am able to create the right image of a place I have never been to. In my work, I especially try to focus on questions of scale and proportion, which is a way of reminding us that the atomic bomb connects the very small to the very powerful.
Each picture offers no context at all: an air strike and simple darts, a sunset or bomb hitting the ground, tourists bathing in a corner of the sea, and victims of a shipwreck caused by the monster. This work uses a variety of styles and cultural references to sketch the outlines of the island of Oshima, home to the Gojira monster, and its history."
Tuesday 3 May 2011
Kim Boske
I go walking in your landscape...
In Kanazawa and I go walking in your landscape, I investigates how physical movement in time and space continually changes our perspective on the world. By letting go of the individual perspective and bringing together multiple perspectives in one image, a new layered reality comes into existence."
Artist Statement
"In my work I try to capture the versatile aspect of reality by exploring the mutability of things. My images reveal phenomena that are impossible to see or witness with the naked eye. As well as my source of inspiration, the Time system is also my apparatus to show this rich, layered world. This manifests itself in my work in many ways.
In Kanazawa and I go walking in your landscape, I investigates how physical movement in time and space continually changes our perspective on the world. By letting go of the individual perspective and bringing together multiple perspectives in one image, a new layered reality comes into existence."
Monday 2 May 2011
Andrey Bogush
Rainbow Set
Artist Statement
My interests in photography are linked with perception of objects and Gestalt theory. These are very formalistic studies of still life and pseudo still life through the medium of photography with moments of interference from editing software.
In the Rainbow series, I digitally overlaid rainbow gradients on photographs to include a new visual and possibly conceptual dimension. My subdued pallet splits with color—alternately drawing attention to the reliability of photography and the hyper-reality of color processing.
http://andreybogush.com/
Artist Statement
My interests in photography are linked with perception of objects and Gestalt theory. These are very formalistic studies of still life and pseudo still life through the medium of photography with moments of interference from editing software.
In the Rainbow series, I digitally overlaid rainbow gradients on photographs to include a new visual and possibly conceptual dimension. My subdued pallet splits with color—alternately drawing attention to the reliability of photography and the hyper-reality of color processing.
http://andreybogush.com/
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