║ Rebecca Veit ║

© Rebecca Veit, Cookie Crumbs, from the series Europe and In Between, 2004

© Rebecca Veit, Oats, from the series Prim & Pink, 2003

More of her work here

║ Louise Fago-Ruskin ║

© Louise Fago-Ruskin, Untitled, from the series The Catchers, 2008

© Louise Fago-Ruskin, Untitled, from the series The Catchers, 2008

“My current practice stems from an abiding interest in psychological and philosophical disciplines. Committed to exposures of the psyche, the camera is deployed as a tool by which the unconscious may be unlocked thus enabling significant emotional and mental shifts. The private nature of the photographic studio enables certain revelatory actions, unveiling previously concealed truth.

A crucial element of ritual in my work seeks to facilitate transformative procedures, gaining inspiration from Richard Schechner’s theories on symbolic time and processes inherent within situations of conflict. The re-construction of ‘episodes’, be they of the solitary or paired figure, relies on the metaphorical nature of physical posturing. The deliberately destabilized object acts as conduit for the expression of anxiety, anger and repression.

Taking the form of the contemporary confessional box, attempts are made to confront particular perplexities held within firm ideological belief systems. I seek to challenge practices of control alongside engagement in a process of fresh enquiry. My practice acts as both an exercise in mourning and the re-negotiation of a rite of passage.”

Personnal Statement

More of Louise’s work can be seen here

║ Ahndraya Parlato ║

© Ahndraya Parlato, Untitled, from the series Inscape, 2003-2008

© Ahndraya Parlato, Untitled, from the series Inscape, 2003-2008

“I am interested in how we structure our personal worlds, in how we imbue them with a sense of direction, purpose, and security when, in fact, we can actually control very few things. The idea that we’re not working towards anything, that completion and wholeness are unattainable fictions, and that chaos rules, is a scary possibility to consider. The world can unravel at any moment – no matter how perfect your yard is.

Our feelings are elusive. It may take us years to know why we do certain things, or feel certain ways. Because of this, we’re often operating without reason. We believe we know why we’re doing what we do, but, in fact, we’re blind. We’re magicians. My reality is an illusion that I’ve created. I may recognize it as an illusion, or I may not; I may continue to accept it, and to call it reality, thus rendering it real. Or it may vanish before me like the fleeting chimera it was.

I want to show the world in a way that recognizes the fragility of our constructions, that accepts, and perhaps welcomes the discovery of a torn veneer. My subjects accept the failure of order; they sense their own inability to control the world, and yet, they continue to try. Their world is marked by both a loss of comfort and the search for new and unusual methods of consolation, despite the impossibility of complete consolation.”

Personnal Statement

More of Ahndraya’s work here

║ Emmeline de Mooij & Melanie Bonajo ║

© Emmeline de Mooij & Melanie Bonajo, Untitled, from the series Bush Compulsion, a Primitive Breakthrough in the Modern Mind, 2008-2009

© Emmeline de Mooij & Melanie Bonajo, Untitled, from the series Bush Compulsion, a Primitive Breakthrough in the Modern Mind, 2008-2009

“Melanie Bonajo and Emmeline de Mooij (1978), who are based in Amsterdam, graduated from the Gerrit Rietveld Academy with diplomas in 2002. Emmeline started creating installations, while Melanie began experimenting with photography. However, both share an approach that is close to performance, often using their bodies in their mises en scène. It would thus be inappropriate to try to associate their work with a particular medium. Accustomed to artistic collaboration, they have joined forces for the project ‘Bush Compulsion: A Primitive Breakthrough in the Modern Mind’, which is being presented at the festival. The artists ask whether the comforts of modern life have caused us to lose our links with nature and its manifestations, disease and death. Has this interconnection been lost for good? Melanie Bonajo and Emmeline de Mooij shed their clothes and every other artefact of daily life, and, naked, they spend their days in the wood. Masks, fetish objects and adornments recall the society that they left behind at the edge of the forest: these new savages are adorned with bubble wrap and motorcycle helmets. The artists experiment; their sincere approach combines artistic genres seamlessly, as they decorously tread the fresh earth. “

source: Hyères 2009

More of Emmeline’s work here

More of Melanie’s work here (and one previous post about her here)

║ Meysam Mohammadi Mahfooz ║

© Meysam Mohammadi Mahfooz, Untitled, from the series Interior

© Meysam Mohammadi Mahfooz, Untitled, from the series Interior

║ Rana Javadi ║

© Rana Javadi, Untitled #8, from the series When You Were Dying

© Rana Javadi, Untitled #13, from the series When You Were Dying

║ Peter Lorenz ║

© Peter Lorenz, Berlin Alexanderplatz, from the series Don’t fight the feeling

© Peter Lorenz, All Yours, from the series Don’t fight the feeling

More of Peter’s work here

║ Sara Rahbar ║

© Sara Rahbar, Flag #15 With these Eyes, fromThe Flag series, 2008

© Sara Rahbar, Untitled #10, from the series You are safe here with me, 2008

“We left our woes behind, with only echoes of our previous lives remaining. Seeking continuation, time and refuge, human beings attempting to survive our selves, our lives, and our present locations.

My work is my story told, it is a direct reflection of the constant questioning of the who I am, what and where is home, and why I am here. It is the mirror image of my life, my geographic locations, my history, my present, my environments and my memories.

Metamorphosing and transforming for the means of surviving it all, our foundations lay, but our houses have burned to the ground. Building castles in the sky, for a species that cannot fly, brick by limb we tear it down. Thinking that we are moving forwards, yet moving backwards all along.”

Gajar woman and golden toys, we wait for dawn.

Artist Statement

More of Sara’s work can be seen here

║ Katherine Oggier Chanda ║

© Katherine Oggier Chanda, Totem,photograph of a performance, Scotland 2009

© Katherine Oggier Chanda, Bench Hike, photograph of the performance,  Scotland 2009

“My work revoles around the subject of repetitive actions in terms 0f physical, space as well as movement.
(…)
I would say art in this way allows me to take a position that enables me to look at the codes of our societies in a different cpntext in a world in which our propositions of our realities may not necessarily be the real but at times become the unreal. And this is possible when viewed trtough the window 0f deliberate absurdity.”

Katherine

More on Katherine here

║ Delia Keller ║

© Delia Keller, Untitled #1, from the series La Dame en Bleu II, 2002-2009

© Delia Keller, Untitled #8, from the series La Dame en Bleu , 2002

More of Delia’s work can be seen here

║ Abelardo Morell ║

© Abelardo Morell, Camera Obscura: View of Florence Looking Northwest Inside Bedroom, Italy, 2009

© Abelardo Morell, Camera Obscura: Chianti Landscape Inside Room With Roberto Barni Art Work, Italy, 2009

More of Abelardo’s work can be seen here

║ Matthieu Gafsou ║

© Matthieu Gafsou, Untitled #5, from the series Corruptions

© Matthieu Gafsou, Untitled #17, from the series Corruptions

“Corruptions aurait pu être un projet documentaire centré sur un bout de France, ouvrier, qui a subi l’effondrement de l’industrie du textile. Un travail d’initiation, dans la tradition stylistique de mes maîtres.

Les images d’une telle série n’auront jamais vu le jour. La conjugaison de mon inexpérience et de la maladresse d’un technicien a eu pour issue une altération profonde des négatifs, rendant les images totalement inexploitables pour le projet que j’ambitionnais alors de présenter. Une partie des négatifs, sous le coup de la frustration et de la colère, a fini au rebut. Le reste, fétiche amputé, a attendu dans un placard.

Il a fallu du temps pour que je saisisse la richesse de ce matériau dont je croyais qu’il était corrompu. Il a fallu peut-être apprendre à saisir un peu mieux les enjeux d’une démarche artistique, sa fragilité, sa soumission à l’accidentel malgré toutes les précautions, les intentions.

Car plus que de la mémoire des lieux, c’est la mémoire en elle-même que ces négatifs questionnent tout comme, et c’est un corollaire, le pouvoir de la photographie à fabriquer des souvenirs, à construire un passé teinté d’imaginaire dont les traces participent de la construction de l’individu et de la mémoire collective.

Mes Corruptions n’évoquent donc plus seulement le passé de lieux qui ont subi les outrages d’un bouleversement économique, d’une histoire locale, de péripéties. L’ici et le maintenant, l’anecdotique, s’en sont allés avec la précision de ces images, réalisées à la chambre. La mémoire devient le vrai sujet des images, la mémoire comme faculté de se souvenir mais aussi comme action de tronquer, de façon non intentionnelle, ce qui fut.

A ce titre, la photographie, considérée comme métaphore de la mémoire, est exemplaire. Elle en est même devenue l’outil, manière de fixer des souvenirs mais aussi de construire la fiction de nos vies. Et mes images, menacées de disparition par un accident, tronquées, infidèles, sont une façon de formuler les trahisons de la mémoire, les pièces manquantes, les raccommodages inconscients qui forgent les abris de nos histoires et de l’Histoire avec un grand H – pour autant que celle-ci existe bel et bien, ce dont je me plais à douter.”

More of Matthieu’s work can be seen here

║ Mark Neville ║

© Mark Neville, Supper, from the series Fancy Pictures (Photographs for the House, 2008

© Mark Neville, Mr. and Mrs. Curry, from the series Fancy Pictures (Photographs for the House), 2008

“Shot in the grounds of Mount Stuart and on Bute farms, the film ‘Fancy Pictures’ features several ultra slow motion sequences of indigenous animal life filmed in front of backdrops taken from Eighteenth and Nineteenth Century portrait paintings in the Dining Room at Mount Stuart.  The portraits include works by Sir Joshua Reynolds, Allan Ramsay and Sir Henry Raeburn.

Neville questions the role of landscape in portrait painting, the changing relationships between landowners and animal life, and creature symbolism in film history.

Interwoven is a film that depicts a group of young cygnets feeding and playing, apparently unprotected, until the camera pans out slightly, but dramatically to reveal the powerful presence of the pen (mother).  The piece works as a hypnotic meditation on themes of family, and representation of the swan as an ethereal symbol of light, alchemy and self transformation within heraldry and ancient mythology.

The term ‘Fancies’ was first used in 1737 by art chronicler George Vertue to describe paintings by Mercier of scenes of everyday life, but with elements of imagination, invention or storytelling. Later, the name ‘fancy pictures’ was given by Sir Joshua Reynolds to the supreme examples of the genre produced by Gainsborough in the decade before his death in 1788, featuring rural life in particular.”

(…)

Neville has introduced into the House four of his photographic portraits of people and places from the Isle, grouped together: They seem at first glance to be unrelated social documents. Further investigation reveals subtle and contradictory references both to the history of photography and to painting.

Neville says: “Their positioning within the House acts to question the role of social documentary photography, both its relation to context and dissemination, and how it at once celebrates and manipulates its subjects. The images reference the House’s relationship to painting sometimes through the poses of its subjects, which may seem to echo Gainsborough’s ‘Mr and Mrs. Andrews’, or sometimes through the lighting, which might quote Caravaggio’s ‘Supper at Emmaus’. However, they simultaneously also refer to the impulse in 1920’s social  documentary photography, later common in Soviet pictorial types, to orchestrate its subjects into stylized compositions that glorify the relationship between people and the land. The suggestion being, that it is people, not machines, that are the source of a country’s wealth. This message is counterbalanced with the contradictory references to painting genres which reinforce the idea that power is a result of land ownership, and that images should foremost be aesthetically pleasing in order to communicate. I hope the result is ambiguous.”

More of Mark’s work can be seen here

║ Ulrike Thiele ║

© Ulrike Thiele, Untitled #1, from the series Im Garten, 2001

© Ulrike Thiele, Untitled #3, from the series Im Garten, 2001

More of Ulrike’s work here

║ Gabriela Morawetz ║

© Gabriela Morawetz, Closer To Me Than Myself, 2009

© Gabriela Morawetz, Closer To Me Than Myself, 2009

To see more of Gabriela’s work click here

║ Carmen Calvo ║

© Carmen Calvo, Tubérculo Metamorfosis 1, 2008

mixed media, photography

© Carmen Calvo, Había Desaparecido, 2006

mixed media, photography

More of Carmen’s work can be seen here

║ Béatrice Helg ║

© Béatrice Helg, Expansion III, 2007

© Béatrice Helg, Profondeurs VIII, 2008

More of Béatrice’s work can be seen here

║ Laura Aguilar ║

© Laura Aguilar, Nature Self Portrait #7, 1996

© Laura Aguilar, Center #73, 2001

║ Hannah Wilke ║

© Hannah Wilke, Portrait of the Artist with her Mother, Selma Butler, 1978-81

© Hannah Wilke, Intra Venus No. 4, 1992-93

“The motif of symbolic woundedness, as tied to the social experience of femininity, prefigured Wilke’s development of physical illness, a lymphoma diagnosed in 1987 and around which the Intra-Venus series was articulated. While Wilke’s work from the 1970s suggests that the “wounds” of femininity, as experienced in patriarchal culture, might one day be removed or transformed, the same could unfortunately not be said of her disease, which proved fatal in 1993. Besides the psychoanalytic connection between the sight of the female body and (the threat of ) castration, it is possible that Wilke’s visual association of womanhood with woundedness might have stemmed from witnessing her mother’s breast cancer. In effect, Wilke began to perform nude in 1970, after her mother’s mastectomy.12 Wilke’s exposure to her mother’s “real wound” may thus have inspired the analogy she drew in turning the hidden, psychic wounds of femininity into meaningful physical marks. That woundedness should appear as a motif to figure both visible and invisible pain is not surprising, considering the  ncommunicable nature of suffering. If pain, both moral and physical, is pre-symbolic,13 changing, and ungraspable in nature, then the transmission of such experience needs to be translated into a clearly identifiable form. From this perspective, the motif of the wound not only emerged in Wilke’s practice as the physical consequence of illness, but also was employed as an active, signifying mark, which visibly indicated the non-figurable pain that brought it into being.”

Tamar Tembeck

More of Hannah’s work can be seen here

║ Rui Calçada Bastos ║

© Rui Calçada Bastos, Untitled, from the series Life in a Bush of Ghosts, 2008

© Rui Calçada Bastos, Untitled, from the series Life in a Bush of Ghosts, 2008

“Rui Calçada Bastos also exploits astute readings of the early conceptual artists. He talks of “revealing the City’s intimate histories and continuous memory” and “the sensitivities that become attached to spaces”. That is a large plateful since Berlin is certainly a city that abounds with histories – some are intimate to the story of the city itself and other to the individuals who live there – but Calçada Bastos´ intention is to focus on particulars, to dig them out by attention to detail. He avoids the large stories: Berlin of the Second World War, Berlin of the Fall of the Wall, Berlin of the night life of the neo expressionists, from Fetting, Salome etc running on down until it ran out, Berlin with its Beuysian Academy, Berlin with the presence of Michael Werner, Sigmar Polke, Jorg Immendorf, and Markus Lupertz, Berlin of the spy films, of Lotte Lenya, of the Air Lift, of Willy Brandt, Berlin of May 68, of cheap property, of artist studios, of immigrants. He tries to find more what Cezanne called les petites sensations, the glimpses of things that suggest the city’s sensitivity, its moods and rhythms, the soundscapes, the sense of roaming the city, the accumulation of visual knowledge that finally allows us to feel at ease, to somehow belong.”

Kevin Power

To see more of Rui’s work click here

║ Tibor Gyenis ║

© Tibor Gyenis, Area, 2004

© Tibor Gyenis, Self, 2007

║ Gábor Gerhes ║

© Gábor Gerhes, Addition Falsed, 1999

© Gábor Gerhes, Solved Problems Before Unsolved Ones, 2006

© Gábor Gerhes, Can I Believe in Something, Which Can Not Believe in Me, 2006

More of Gábor’s work can be seen here

║ Kudász Gábor Arion ║

© Kudász Gábor Arion, Candle, Olimpic Park, from the series Green Area, 2006

© Kudász Gábor Arion, Urns, Farkasrét, from the series Green Area, 2005

“Looking at a map, parks are nice little green squares in the body of the city. They can be looked at as areas for future developments: factories, shopping centers and housing projects.
During a period of two years I documented decaying public areas in and around Budapest – before more profitable investments swallow them. I also tried to discover Wilderness on these footholds.

Parks are places of joy and revitalization. Parks are designed to evoke an imaginary view of the Garden of Eden, but urbanization is quite about the opposite. Cities were invented to escape the forces of Nature by creating controlled and calculable surroundings. In such an enviroment a park is a heart of nostalgia even if its origin is not natural in any way. Parks were created by people to simbolize the idea of Nature, but conquered and stripped from its forces. At the same time refugees who proved to be unable to fit in the new environment, or who are expelled from society, start to inhabit the green areas.

Some return to a place of voluntary exile, the artificial Paradise.”

More of Kudász’s work can be seeb here

║ Markus Georg ║

© Markus Georg, Eiffel Tower,  from the series The Power of Images

© Markus Georg, Stonehenge, from the series The Power of Images

More of Markus’ work can be seen here

║ Georg Parthen ║

© Georg Parthen, Dorf, from the series Landscapes, 2007

© Georg Parthen, Kuppeln, from the series Landscapes, 2007

More of Georg’s work can be seen here

║ Peter Wildanger ║

© Peter Wildanger, 02220010, from the series Innen-Aussen, 2005

© Peter Wildanger, 10040042, from the series Innen-Aussen, 2005

More of Peter’s work can be seen here

║ Michael Visocchi ║

© Michael Visocchi, Untilted, 2005

assembled sculpture photographed in North East Scotland

© Michael Visocchi, Gnomon, 2004

constructed drawing placed in the landscape in North East Scotland

To see more of Michael’s work click here

║ Carrie Will ║

© Carrie Will, from the series I Am Redundant

© Carrie Will, Rikki and Carrie, Fire Island, from the series I Am Redundant

“I am redundant, half of a whole, a freak, identical and lucky. The relationship I have with my twin sister is tightly woven, beautifully strange and difficult to explain. This has led me to explore a visual language that articulates the intimacy and the oddity of being a twin.  Having been subjected to stares and double takes my whole life, I use photography to exaggerate the gaze of others and to illustrate the interconnectedness of our identity.  It is difficult to see yourself as an individual when no one else does. My photographs aim at grasping the idea that I am one person as well as two and discovering what that looks like.”

To see more of Carrie’s work click here

║ Michal Grochowiak ║

© Michal Grochowiak, Untitled #3, from the series Silence, 2007

© Michal Grochowiak, Untitled #7, from the series Silence, 2007

To see more of Micha’s work click here

║ Albert Palowski ║

© Albert Palowski, Buchprojekt, Irdelen

© Albert Palowski, Buchprojekt, Irdelen

To see more of Alber’s work click here

║ Benjamin Orion Rush ║

© Benjamin Orion rush, Kelvin, from the series Field Notes: Statements & Sketches

© Benjamin Orion rush, Kelvingrove Hall, from the series Field Notes: Statements & Sketches

“New England-born artist Benjamin Rush presents selections from two new ongoing bodies of work in “Field Notes: Statements & Sketches”. Central to the exhibition are images created in museums, libraries, and galleries both in the US and overseas. With a large format camera he seeks out surreal compositions of not only the display of these institutions, but also of these authoritative spaces in states of undress and change. The images stem from Rush’s fascination with the idea of knowledge, and the governance that possesses, frames and presents it.

The “Sketches” portion of the exhibition appear as selections from a body of 170-and-counting images that Rush has taken with a 1960’s Polaroid Land Camera. Rush says: “My life these past few years has been very unsettled and hectic, this more casual approach to image-making keeps me considering my environment. I’m always fascinated by how things look as photographs. I was curious how my interests and aesthetic might become evident without any particular intent across a large group of images taken over many years.”

These images describe Rush’s connection to the art and history of photography on many levels. “Frankly, I sometimes wonder if I’m just addicted to the way this particular process smells and behaves, ” he says. “Obviously it’s almost immediate but, unlike digital, when you peel the print open – the print is wet and fragile for some time, it’s a very tactile experience”.”

Source: Dakota Ridge Gallery

To see more of Benjamin’s work click here

║ Christina Maria Oswald ║

© Christina Maria Oswald, Untitled #4, from the series Being, 2006-07

© Christina Maria Oswald, Untitled #11, from the series Being, 2006-07

© Christina Maria Oswald, Untitled #14, from the series Being, 2006-07

To see more of Christina’s work click here

║ Jennifer Loeber ║

© Jennifer Loeber, Untitled #1, from the series Was-A-Shore

© Jennifer Loeber, Untitled #8, from the series Was-A-Shore

More of Jennifer’s work here

║ Kate Potter ║

© Kate Potter, Untitled #14, from the series Dad’s Things

© Kate Potter, Untitled #5, from the series Dad’s Things

© Kate Potter, Untitled #10, from the series Dad’s Things

To see more of Kate’s work click here

║ Philip Toledano ║

© Philip Toledano, Untitled, from the series Days with my Father

© Philip Toledano, Untitled, from the series Days with my Father

Toledano’s Days With My Father began as a web-based photo journal with texts, cataloging a poignant series of photographs of his father after his mother’s death with accompanying texts by the artist. The resulting work is an intensely powerful, heartwrenching and yet hopeful glimpse into his personal journey with his father, as they struggle to make sense of the latter’s gradual loss of memory as well as their remaining time together in the world.

I began shooting ‘Days with my father’ about a year ago, several months after my mother had died.
The purpose became clearer, as the project progressed.
It was to make a ‘still film’. An abstract assortment of linked recollections.
My father’s stories, and how he tells them. Aspects of personality that shine through the dim twilight of his fading memory. And new sides to him that have emerged, hidden for years in the strong shadow of parenthood.
I want to record all of this, before he goes. To document the love between us, and by reflection, the love we both had for my mother.
Since I’m an only child, this is best way I know of having a conversation about the death of my parents. I’m talking to myself, and I’m talking to the whole world.”

To see more of Philip’s work click here

║ Marysa Dowling ║

© Marysa Dowling, Portrait 028, Ireland, from the series The Dowling Study, Parts 1-7, 2005-07

© Marysa Dowling, Portrait 03, Stockport, UK, from the series The Dowling Study, Parts 1-7, 2005-07

“This collaborative family study spans four generations (involving all 32 blood related members of the family) and three countries, the UK, Ireland and the USA. It aims to memorialise the family through sets of images, as well as to explore the role photography has at every level to define, group, classify and individualise us. The series looks at our sense of self, migration, family history and memory, with particular regard to the relationship between photographer / subject / audience.

The images vary from personal portraits to pseudo-forensic and pseudo-anthropological documents. Each person is photographed in the same way, regardless of age or place. The Dowling Study investigates not only the nature of a family group but also my own sense of self, place, belonging and heritage.

Within such a group the use of photography helps to create emotional links, form a group identity (both fictional and real), highlight loss within the family unit, record genealogy, suspend familial events, and expose cultural, emotional and social parallels and contradictions.

Finally, the project highlights the ways in which individuals represent themselves within the family group, both privately and publicly, and perceive the self and others.”

To see more of Marysa’s work click here

║ Marjolaine Ryley ║

© Marjolaine Ryley, Untitled, from the series Communion, 2003

© Marjolaine Ryley, Untitled, from the series Communion, 2003

“In 2003 I attended Braziers International Artists workshop and created the series of images ‘Communion’ .

Having grown up living in squats and transitory communities as a child and hearing my parents talk about their time together (before separating) living in communes in the south of France, I was always fascinated by these places and the reasons people were drawn to them. Braziers Park is a living, breathing community of twenty-five people. During my time at Braziers I created a document of life in the commune. It quickly became apparent that these people, like my parents, were struggling to find equilibrium between their ideals and the reality of communal living. Yet despite the ‘cracks’ I found my time at braziers incredibly moving as it evoked a time in my childhood when my parents were determined to live a way of life that rejected our mainstream materialistic culture in favour of a more fulfilling existence.”

To see more of Marjolaine’s work click here

║ Viviane Sassen ║

© Viviane Sassen, Untitled, from the series Realm

© Viviane Sassen, Untitled, from the series Realm

To see more of Viviane’s work click here

║ Laura Hensser ║

© Laura Hensser, Cheese, from the series Still Life, 2007

© Laura Hensser, Cupcakes, from the series Still Life, 2007

“Laura Hensser’s work has a very personal approach to portraiture that constantly combines her own experiences within her surroundings. By using 5×4 Laura is able to produce highly detailed and structured pieces of work, which examine her interests in conceptual and process based ways of working.
Laura’s most recent work titled ‘Still Life’ explores her own childhood memories and challenges the main conventions of performance based self portraiture. Her recollections are illustrated by items which are placed on her face, turning herself from a subject in to an object of that particular memory. By bringing her internal thoughts to the external surface Laura completely strips herself of her current identity and succumbs to her nostalgic self.”

║ Millie Burton ║

© Millie Burton, Mantlepiece, from the series Pictures from an Interior, 2004

© Millie Burton, Dresser, from the series Pictures from an Interior, 2004

“Pictures from an Interior (2004) is a photographic record and celebration of the house that my grandmother lived in from 1956 until 2008. She was a practical woman and did much of the work on the house herself, and had a knack for putting things together in beautiful and functional displays. But when her children and friends were clearing the house after her death, they found that many of the objects were flawed in some way – vases turned to hide a crack, pairs of glass candlesticks that didn’t match, rugs covering bare patches in carpets. The house has since been sold, and, though it once seemed so permanent, little seen in these photographs now remains.”

To see more of Millie’s work click here

║ Polly Braden ║

© Polly Braden, Untitled, from the series Adventures in the Valley, 2004

© Polly Braden, Untitled, from the series Adventures in the Valley, 2004

“A collaboration between Polly Braden & David Campany

The River Lea runs from the Thames in east London up to Hertfordshire. Once a busy commercial waterway, it is now a nature reserve and leisure area. From the planned site for the 2012 Olympic Games it passes industrial estates, sports centres, new build homes and council estates.

Working together, Braden & Campany move between observational documentary and experimental stagings. There are poetic snapshots and theatrical incidents, naturalistic portraits and semi-fictional enactments. Responding to the strange beauty they find the photographs reflect the place but also reflect upon the processes and conventions of documentary at the same time .

Escape from the city; the reinvention of social spaces; the attraction of water; the meeting of different cultures; the persistence of nature. The project weaves together its motifs, building a complex description of the past, present and future of this half-forgotten thread of land.”

To see more of Polly’s work click here

║ Maximilian Haidacher ║

© Maximilian Haidacher, Untitled, from the series Erz

© Maximilian Haidacher, Untitled, from the series Thron

To see more of Maximilian’s work click here

║ Daniel Augschöll ║

© Daniel Augschöll, Untitled #1, from the series Celestial Planisphere

© Daniel Augschöll, Untitled #10, from the series Celestial Planisphere

To see more of Daniel’s work click here

║ Anya Jasbär ║

© Anya Jasbär, Untitled, from the series Heimat

© Anya Jasbär, Untitled, from the series Heimat

To see more of Anya’s work click here

║ Magdalena Fischer ║

© Magdalena Fisher, Untitled, from the series Neue Tage

© Magdalena Fisher, Untitled, from the series Neue Tage

To see more of Magdalena’s work click here

║ Eric Weeks ║

© Eric Weeks, Big Star, from the series World was in the face of the beloved

© Eric Weeks, Anne Street, from the series World was in the face of the beloved

“I have been photographing my wife Stacy, whom I married four years ago this fall. My relationship with her is the closest, kindest and most successful of my life. My photographs of her are a celebration of this accomplishment.

This work is about a character who is becoming one within the given landscape. She is someone who is okay with who they are and where they are in the world, while at the same time, she questions her place in the universe. She is my protagonist. Although I do not directly intend to expound on the tenets of Zen Buddhism, there is certainly the suggestion of that kind of spiritual tranquility. I want my photographs to offer a respite from all the courser conundrums of humanity.

In short, I want these photographs to speak about ideas of beauty: the beauty of this woman in these attractive clothes; the beauty of the landscape and the figure relating to that space; the beauty of color relationships; and also about the beauty of analogue photography.(…)”

To see more of Eric’s work click here

║ Susan Worsham ║

© Susan Worsham, Lynn watching Dr. Phill, from the series Some Fox Trails in Virginia

© Susan Worsham, Hearse in my childhood driveway, from the series Some Fox Trails in Virginia

© Susan Worsham, Untitled, from the series Some Fox Trails in Virginia

“This series of photographs is taken in and around Virginia, the place in which I grew up. The title comes from a book written by my father’s ancestor, to show the lineage of the Fox family in Virginia. For my own purpose, it acts as a metaphorical map, of the rediscovered paths of my childhood home.

At the age of 34, I came back to Virginia to care for my mother, who died shortly after my return. As the last of my family passed, I turned my lens to old friends, and their new families. I photographed the house in which I grew up. The man that lives there now houses snakes in my father’s old office, and rests them in my old bedroom, while he changes their cages. My mother always promised that there were no snakes in my room, and now that she is gone, there are. A hearse sits in my childhood driveway, representing the passing of my father, and suicide of my brother.

These photographs are not meant to be purely autobiographical, but rather representations of how I view things, based on my own experiences, and those of the people that I have met along the way. My boyfriend Michael, stands on the street I grew up on, bridging the gap between past and present. Lynn, the first stranger that ever sat for me, continues to pose for me, along with her son Max. I have been photographing her for sixteen years now.”

To see more of Susan’s work click here

║ Glen Erler ║

© Glen Erler, Untitled, from the series Life as I knew it

© Glen Erler, Untitled, from the series Life as I knew it

© Glen Erler, Untitled, from the series Life as I knew it

“This was a chance for me to travel around Southern California and photograph friends and family in or around the environment of which they live.

The tree in my aunt holly’s back yard or my cousin Joel looking through the screened enclosure were left pretty much exactly how they were the last time I had gone to visit them a good ten years ago.”

To see more of Glen’s work click here

║ Alexander Gronsky ║

© Alexander Gronsky, Untitled, from the series Pastoral

© Alexander Gronsky, Untitled, from the series Pastoral

“In this project I explore wastelands within Moscow city. Areas that are not urban not rural. Areas that lack definition.”

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║ Spela Volcic ║

© Spela Volcic, Heiko Jens Ruddigkeit, German, from the series Panis Nostrum

© Spela Volcic, Paulina Pineda Espinosa, Spain, from the series Panis Nostrum

To see more about this series and Spela’s work click here