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.
Since ancient times, the Japanese have had a unique aesthetic sense referred to as 'wabi-sabi'.Generally, this style prefers the mundane over the showy, quietude over eloquence, and stillness over movement. However, almost no opportunity to hear about the style exists in modern times. As time goes by, and as people become more and more superficial, they have lost touch with their aesthetic sense. One day, I found a common point in photos I captured. That's the quietness. I may unconsciously feel an aesthetic sense like 'wabi-sabi' in the environment which keeps creating, destroying and changing all the time. This series is a documentary that seeks for feeling in everyday life.
I usually go out and drive to find somewhere that makes me want to stop and take some shots. Exploration takes a great part in my photographic practice. In my photos, man-made surroundings are juxtaposed with natural surroundings of landscape. Currently I’m living in my birthplace Ankara and exploring its rural areas with a new visual approach. My works are not focused on local narratives or documentaries. They are more about how people transform, reshape and modify land. In my opinion altered rural landscapes visually looks similar and most of the time one just can’t simply say where or when a photo is taken exactly.
'Window' by Nick Sellek
This series of photographic animated gifs are a cross over with another of Nick's projects called 'Window.'. They were created for the front of Christmas advent calendars with windows, roofs and facades cut and creased to open up to reveal interiors and festive happenings. These displayed here are however just two dimensional, but with slightly animated snow storms. The photographs were taken in New York, London, Brighton & Oxford.
The project focuses on how suffering arises in a person and traces its roots into memories of childhood and youth. The photographs are intentionally vague and open to allow the viewer to search for their own interpretation or relate to certain emotions. They provoke questions without certain answers to emphasise how memories fade and warp over time. This fallible construct is the base for our feelings and perception of the world around us which thus is in constant change — potentially leading to feelings of tension and ambiguity. We never truly are, but merely exist in an approximation in between our past experiences and those still to come.
László Gábor Belicza
'My father and me worked in a lumberyard. We laid down a huge poplar on the field, and we chopped it up. It fell apart afore our eyes. My sister’s son was four years old when his father died. Every faces of my family expressed the fear of something absent. All of us felt the loneliness, but there was a close bond between us. The wood in pieces seemed like the tragedy of my family. It fell apart like us. The whole never will be entire. Constant farewell and the act of moving on is reflected in childish existence.'
My name is Liam dobbin, i'm 23 years old. I currently live in cambridge Ontario, a small sleepy town. Fascinated with ethereal landscapes, intimate portraits and vernacular snapshot photography. I like to keep things organic and let things happen on the way, staging and overthinking is to be avoided. I am currently working on a follow up series for romantic void that I worked on in 2012.
'Goodbye, Blue Monday' investigates symbols of age and mortality in the world around us. The book was shot over a year, which coincided with me leaving my job to go freelance as an artist. This change made me hyperaware of time, in that my time was all my own, and I increasingly began to notice symbols of death in the world around me. Death is the full stop to your time and, once you become aware of that, the question becomes how are you going to make the most of it?
I make small enclosed collections by which I am turning my attention to my surroundings and by which I am trying to catch affected human destinies with as much sympathy as I can give. I try to make my photographs visually simple, non-stylized and functional. I want my photographs to be only whispering to the audience, not shouting to them.
This series is called 'Friends', a series where Kateřina digs out forgotten clothes and creates figurines out of it to keep her company.
Juan Rodriguez Morales
This series titled 'Ghost World', is by the Spanish photographer, Juan Rodriguez Morales.
'In the placid suburb, life goes smoothly and even a strange sense of ennui and melancholy pervades everything. This series tries to pick those feelings.'
My work is all about experimentation and spontaneity around three central elements; colour, light and natural forms... These images are the only trace of their short lived existence, exemplifying the role of art in creating the illusion of permanence in a transitory world.
Mikael iN Fravez
'Window' by Nick Sellek
László Gábor Belicza