Obviously, color and geometry are an integral part of the series Geometry and Color. These images are created through an exploration of place and waiting for the critical moment, when the elements combine naturally. All images except one includes one figure creating a sense of isolation. Unknowingly, the people are interacting with the environment and these interactions are the most captivating part of this series. For instance, Orange is the New Black, the painter seems about to be consumed by the paint itself. In another instance, Geometry of Waiting, the cluster of black chairs breaks up the geometrics of the floor. In Lost in Blue, the red shirted figures are submerged in blue paint from wall to floor. Similarly, Geometry of Swimming in which the culmination of blues in different shades and shapes is hypnotizing and is slightly contrasted by the orange ball. With Hinomaru or Geometry of Dreaming, the figure feels small (not only in size but as a human being) compared to the giant red dot on the wall. The colors interact beautifully together whether contrasted or close together on the color wheel. The perspective of some of the images creates flatness and additionally creating a new world that is in between the natural and supernatural.
Tuesday, April 17, 2018
Jamie Salazar Profiles Jerry Uelsmann
Have you ever had to take a double take at a photo or work of art …?
Well my friends Jerry Uelsmann is the epitome of just that, known as the “Master of Photo Montage”
He has taken the constructed print to the highest art form. Utilizing a vast assortment of darkroom techniques to create some of the most intense and intriguing works of photography anyone has ever seen.
These types of works will fool your eyes and at the same time asking the artist for more.
The Detroit born artist, could have never expected how popular his works could and would become. He gained a large amount of education in the mid west, earning not only a B.F.A., but a M.S. as well as a M.F.A. All of that education also earned him a grand fellowship from the Guggenheim in 1967,as well as one with the National Endowment of the Arts in 1972.
There are very few artist today who can create these type of prints without the use of Photoshop or other computer aided programs. Uelsmann uses conventional Gelation Silver Prints and creates these magical works through his print and film processes.
Jamie Salazar Profiles Joel-Peter Witkin
Imitation is the fondest form of flattery…This was never so true than in the work of contemporary photographer Joel-Peter Witkin.
His works are an amazing interpretation of some of the most famous works in Art History. Not only does he celebrate these famous works from the likes of Seurat or Dali, by recreating them in the subjects in which he photographs, but also by utilizing fragments of the familiar works throughout his own.
The oddity and strange variations or points of view seem to stem from within. As a child, growing up in Brooklyn during the 1940’s. Witkin was known for being interested in the strange and slightly off kilter of society, where as a teen he would befriend and photograph side show performers of the famous Coney Island.
His works have a beauty all their own, they are very intriguing and interesting to study. You can look into them and see more and more within the work. The almost ghostly quality to the works may turn some people off the “Fine Art” idea of these works, but you cannot argue the intense work and quality to the eye of this alternative photographer. These works are amazing and dynamic in topic, process, and visual presence. I would urge all of you to check them out for yourself and make your own choice. There is a classic and yet fresh aspect to his works that do call upon the attention of us all.
Jamie Salazar Profiles Edward Weston
Where do you even begin when trying to speak about one of the most influential photographers of our time.
Edward Weston had a way of shooting which, not only uses the light to create a viewpoint where the eye can see this amazing, almost structural elegance from everyday items, like cabbage leaves and sea shells. The organic shapes and textures, with the light play almost tells your mind that you are looking at a human form, but when you take a closer look it is just everyday items.
His perspective on the world around us was magnificent and he was far ahead of his time. He also created a love in his youngest son Cole to follow in his father’s footsteps. These highly narrative and honest works of photography are not only a catalysis for discussion and thought, but also the first of their kind.
The true value in his works come from the quality of the perspective as well as his use of contrast and light. The works which do not involve people are still very much like portraits to me, the way the subjects are the true focus of the work, and the way all of the same great care and consideration for lighting and placement and depth are all reasons that make these works so special.
Jamie Salazar Profiles Ruth Prieto Arenas
Talk about an up and coming artist. This lady is one to watch and for good reason. She not only worked her way through her photo and film education while growing up in Mexico City, but she also earned a most coveted fellowship with the esteem Magnum Foundation. She has since exhibited throughout the world and has been included in TIME magazine’s “9 Mexican Photographers you need to know”
This series seems very narrative and in some cases creepy and intriguing. It is her ability to capture that just right moment where the highlights and shadows sway happily together and the results give us, the viewers a little more to look at than I believe even she bargained for while shooting. These photos have a film still quality, that could be from her background in film, or just the “film noir” lover in me. Any way you look at it you cannot stop. The series is amazing and haunting.
For More Information on her work:
Jamie Salazar Profiles Robert and Shana Parke-Harrison
The very narrative works from the husband and wife team of Robert and Shana Parke-Harrison reflect not only visual stories that are relatable to the majority of us, but they are represented in a dream-like visual presentation.
Works from their most famous series Architect’s Brother, reflect this successfully. The series not only reflects these narrative images in a surreal, almost dark way, but in a manner that results in the timeless representation of theme and content. The viewer is left to make their own connection with what appears to be a very relevant, industrial image presented to them in a more surreal fashion. It is hard to place these works in any one type of category, but the fact is you cannot stop looking at them and uncovering different aspects and viewpoint to them.
The works could take place in any era or any time, even with some of the aspects tasking the viewers mind into the future. It is that contrast which holds the viewers interest. There are two links in which I have posted below for more information and to get a better look at these works.
Friday, April 13, 2018
As mentioned before, Laurence Demaison’s work is mainly self-portraits. Nevertheless, Demaison does not use herself to represent the main subject/concept, rather it is more for the consistency and availability of the subject itself within her work to be able to conceal, distort and reconstruct it in a form which is more acceptable for her concept. For Laurence Demaison, the “female’s body is like a prison” in which throughout the history of art the common aesthetic of the female body has been viewed as sensual, where “she is at the mercy of all men's eyes”. Demaison, attempts to break that “prison” by applying different in-camera techniques to manipulate and distort our view of what we expect of a woman’s body.
For example, in the two images shown, Personne n°4 and Séquence Un Jour Sang we can clearly see the manipulation, although accomplished differently, to achieve that distortion of the body or the “self”. In Séquence Un Jour Sang, Demaison uses a sort of liquid and its reflective quality to dissolve her own image. By making it into a sequence, she has created this anticipation for the viewer of the possibility of actually seeing her face as she spreads the liquid on the flat surface. Contrary to the viewer’s expectancy, Demaison distorts the reflection thus going back on her concept of breaking free from that female prison made from the audience. Furthermore, with Personne n°4, Demaison decides to create a full body shot with multiple exposures f her hands framing and concealing her own figure. Although obscuring the female body, one can still decipher what it is by looking of how some hands curve a points. In this image she has created almost a phantom like representation of what could be the female frame.Overall, I find Laurence Demaison to be very inspiring as my body of work also consists of self-portraits, and without even knowing it I have taken a few similar shots of what she has done. Seeing her portfolio online has motivated me to explore and push myself with different camera and lighting techniques, as well in looking more into on how we view self-portraits.
|Séquence Un Jour Sang|