What began as a New Year's Resolution turned into a visual documentation of my thoughts and emotions as they travel throughout the days. As the year evolved as did the photographs. Feminist revolts, political dismay, unrequited love, the experience of living in New York City, are all woven into the quilt of my 2016. Alone they are snapshots of my thoughts and experiences in my day-to-day life, but together they create a whole new snapshot. Capturing this year in: the romance, the struggles, the fun and games, the protests, and the people trying to find their place in the world.
In the series, 'A House, A Home', I isolate ubiquitous household objects and photograph them on colorful backgrounds as a way to begin to investigate the traditions of domestic American life. My interventions, color palette and commercial style of photographic capture re-contextualize the objects as a way to challenge conventional domesticity and to pose questions about conformity, consumption, and convenience as staples of our American popular culture. With the images, I hope to provide a space for the viewer to bring her or his own history and ideas to the dialogue. Lastly, by transforming the objects into photographic prints, I suggest the potential for rebirth as a commodity in a vastly different market.
Mikael iN Fravez
I like landscape with humans lost in the immensity. I like symetry and graphic pictures. I like the solitude and the quiet in the photography.
For me, a good photo must be pleasing to the eye : everything must found this place in the frame.
In my pictures, my wife, many lakes, many mountains, many trees, many clouds, the sun... and the road again and again.
'The paper has no profil' - The role of the photographer has changed over time. In the past it has been the craft of a few to turn blank paper into a photograph, using the darkroom. Today, all you need to do is press the shutter button. Everyone who owns a camera is a photographer. At least this is the public opinion. Rather than creative quality, all that counts is the size of the camera and the length of the lens. The incredible amount of pictures being produced day by day deprives photography of its mystique.
'Compact Mindfulness' is a visual diary taken in Japan, Turkey, Laos, and Thailand across the last two and a half years. This series stems from my approach to photography, simplicity through subtraction and a focus on bold colour and light. These images evoke a feeling of personal nostalgia, moments captured on film so they aren't lost to the annals of time. Photography for me is about that connection to the image - each of these images when viewed takes me back directly to the time and place. I photograph my life to keep memories and to document the quiet moments.
I have done a lot of research into the psychology of curiosity in relation to photography. I was intrigued as to why I was captivated by some of my photographs more than others. During my research I found certain aspects of a photograph can be manipulated and controlled to help conjure the feeling of curiosity, by excluding and including certain subject matter a certain way, I am able to alter the ‘balance’. My photographs have become an exploration into this particular ‘balance’ to which I will continue to build my work.
I’m a self-taught photographer, originally coming from Russia. I’m not a great talker, so trying to explain and express the way I see the world around me through the lens. I really love what I’m doing. It’s a great antidepressant. It keeps my head clear.
This 6 photo series is called "My Irish days". I would say it's more like my photo diary. I keep records of human faces, their feelings, emotions. They are all so different, with their own dramas, life stories. If you look at them, their eyes, hands, backs say it all. It's absolutely beautiful...
The dawn of mankind, a time with no rationality. An ancestor contemplating the cosmos perceives the necessity of a divinity. The Second Cosmogony takes place along with the miracle of selfthinking consciousness. In that moment he knows he exists for a reason; he's got the significative element and this had found a way to reveal itself to him. Conscious and Unconscious get together in the creation of the Self.
This project is a narrative of colours which they can tell some charming story without any purpose. It's like we find some things, or listen sounds, that can be smoothly combined and make you imagine in any possibilities.
Mid Anatol is a series about the aesthetics and socio-cultural dynamics of Çankırı, Ankara and Yozgat; which are some of the most characteristic cities in Middle Anatolia. The series is named Mid Anatol -which stands for the shortened version of Middle Anatolia- as I believe that these three cities reflects their region in a nutshell. Also, the reason I chose this area is because of the fact that it sets the norms in all of Turkey regarding politics and culture.
I’ve ironically used photography to convey absence - a media often, and almost automatically used to reframe memory. This project very much focuses on highlighting the loss of a relative, or their missing. As something physical and thus wishes to capture its essence.
I made new family albums from scratch with pictures I'd edit so they'd be more accurate in telling the story of our life. I aim to create a visual discomfort by recreating in a way, pictures I grew up with. By materializing the absence one is undeniably transforming it into an actual physical form. One might forget features of a face but remembers the loss or sentiment of emptiness. Dads is a blunt testimony of absence, a disturbing hole in the most powerful piece of evidence. You can’t forget what you’ve never known but can choose to remember its absence.
Start to photograph by myself, on the threshold of 40 years.
I prefer the proximity explorations , the human landscape, his functions.
The camera gives me a chance to regain possession of the usual as
extraordinary, access to a More Profound experience of Reality,
in a peaceful struggle with time.
I live in Tuscany, not too far from the sea.
In the ongoing Series [S]lowseason i explore the Tirenean coast of Tuscany.
The 'Me error' project shows what mirrors reflect when we are not in front of them. It consists in a series of photos taken facing a mirror, so we should see ourselves reflected in it, but we don’t, as if we were invisible. The result are real images, that exist in the world, but that we can never witness, for we are their own interference. In fact, we will never be able to observe directly what a mirror shows when we are not facing it, because every time we step in front of it, the image that was reflected a moment before is modified by our appearance. Only disappearing, we can observe reality without alterations.
Mikael iN Fravez
'Window' by Nick Sellek
László Gábor Belicza
Juan Rodriguez Morales