© Bill Durhin, Untitked, from the series Nudes and Still Lifes
© Bill Durhin, Untitked, from the series Nudes and Still Lifes
“Nudes and Still Lifes is a series of photographs that reverberate between the languages of attraction and abjection, painting and performance, photography and sculpture. While specific poses riff on gestures and peripheral details from the works of Lehman, Corbet, Gerome, Belmer, and Bacon, the exquisite distortion of the figures attempts an undoing of recognizable form.
For the Nudes images I work with dancers, models, and my own body to choreograph shapes through contortion and perspective. Resisting traditional views of figuration, I reduce the figure into an abstracted form of muscle, fat, and bone. I then compose a Still Life and connect the images through composition and location. I arrange flowers, fruits, vegetables, fish, and meat, delicately intertwined with wig hair traces from the figure to sculpt a Still Life that is both subtly grotesque and elegant.”
More of Bill’s work here
© Peter Finnemore, Miffin in the wallpaper, from the series Dark Light (Gwendraeth House), 2010
© Peter Finnemore, Night Veil, from the series Dark Light (Gwendraeth House), 2010
“Houses are commodities, homes are souls. Began in 2003, this substantive, distinct and current chapter of the Gwendraeth House project comes under the title of Dark Light. Here, through photography I divine the house’s interior. Its habitual space becomes a compact manifold; it is without boundary. This stone house is a breathing entity; light, air, décor and companionship nourishes’ its well-being. It is a stationary stone ship, an enclosed deep time capsule; occupying both physical and unconscious dimensions. These latest photographs become a collaboration with this habitual entity, allowing it to guide the manifestation of images. Gwendraeth House as a spatial dwelling becomes an instrument of measurement, a stone, bricks and mortar astrolabe to chart the universal interior.”
The work of Peter Finnemore can be seen here
© 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
© James Nizam, Anteroom (pile of cabinets in room), 2007
© James Nizam, Dwellings #13, 2006
“James Nizam’s work reveals a fascination with the processes of change, decay, and reclamation within our built environment. His new series of colour photographs—shot inside abandoned houses slated for demolition—speaks eloquently about the booming real-estate market in Vancouver and the disappearance of modest, single-family dwellings from urban life. But his images also tell us something poetic about the relationship between people and the domestic spaces they fleetingly occupy.
The show clearly relates to Nizam’s previous series of chromogenic prints, shot inside the old Woodward’s building at night using found and ambient light. The images in Dwellings are also nocturnal and also employ a degree of ambient lighting. More importantly, however, the interiors are articulated by Nizam’s flashlight and caught by his camera’s extremely long exposure time. Essentially, the artist uses the flashlight like a brush, painting line, colour, and form into each scene. Some interiors are brightly and evenly lit, while others are draped in shadow. In others still, the flashlight outlines doors, windows, cabinets, and appliances, giving them an eerie glow.”
© Laurens Berges, Berlin – Karlshorts III, 1995
© Laurens Berges, Potsdam V, 1995
“Several images in the series record the intersection of architectural elements with the ground in harmonious if unspectacular compositions, pregnant with the implication of what might have occurred or still could occur there. In others, architectural elements enter into timid competition with nature, the separation of the two realms symbolizing the psychical compartmentalization of experience in general. Like Berges’ earlier studies of Russian barracks, these images derive their impact from inherent contradictions; where a quality of quiet permanence suffuses the abandoned interiors of the earlier series (initially constructed for occupation by German troops during the Wilhelminian and Nazi periods, the barracks then housed Russian troops, which, since the fall of the Wall, the reunification of Germany and end of the Cold war, have remained unoccupied), the photographs in this series demonstrate an almost epic grandeur in the ordinariness of their reality and a topicality in the mild outdatedness of their architectural detail. It is not coincidental that a sense of place derives from the confrontation of built and natural elements, that memory depends on the interplay of past and present and that both occur in conjunction with one another.”
To read the full text click here
To view more of Laurenz’s work click here and here
© Bert Teunissen, Felgueiras de Algarbom #1, Portugal, 2002
© Bert Teunissen, Minas de São Domingos #2, Portugal, 2001
There’s really no way to resume this work… so here is the link to it.
© Joseph O. Holmes, Ganmar Electronics (Bench #2), from the Workspace series, 2007
© Joseph O. Holmes, Dominic, Third Avenue Scrap Shop, from the Workspace series, 2007
© Joseph O. Holmes, C & H Auto Repair, from the Workspace series, 2007
© Joseph O. Holmes, Tony, Ganmar Electronics , from the Workspace series, 2007
“The Workspace project is my ongoing attempt to examine the quasi-private spaces people carve out of their public work lives. Such spaces represent a tug of war between personal expression and comfort on the one hand and the unyielding demands of work on the other. The long-term accumulation of the tokens of that struggle, over years or even decades, can be formally beautiful in a very human and touching way. The project is part of a larger series in which I ask friends and strangers to open up private spaces to my camera.
Because I document a space exactly as I find it, never arranged for the camera, the Workspace project is necessarily a spontaneous process. I can’t, for example, call ahead and explain what I’m after without inviting the destruction of what I hope to capture. Lately I’ve been finding workspaces by walking in off the street with camera and tripod and simply asking (though “simply asking” doesn’t quite convey the complex dance of explanation, skepticism, persuasion, and fascination that goes back and forth). What I end up capturing, then, turns out to be the work that was interrupted to answer the door.”
Joseph O. Holmes
to view Joseph’s full body of work click here
© Guy Tillim, Noverna Court, Paul Nel Street, Hillbrow, 2004
© Guy Tillim, Nomasanto’s room, Jeanwell House, Nugget Street, 2004Jo’burg series
White residents fled Johannesburg’s inner city in the 1990s. The removal of the Group Areas Act foreshadowed a flow into the city of black residents and owners of small businesses seeking opportunities and better lives. Former denizens looked back in self-righteous justification at a city that was given over to plunder and mayhem. It was a self-fulfilling prophecy, backed up by eyewitness reports and statistics. Everyone had their horror stories. (…)
The relationship between tenants and owners or their agents deteriorated with disputes over the state of the buildings, and in some cases resulted in unpaid rents and dues. The buildings started looking like fire hazards, and the City Council began closing on them for unpaid utilities.In between the needs of City Council and the aspirations of developers anticipating the bloom of an African city lies the fate of Jo’burg’s residents. The outcome will decide whether or not Johannesburg becomes, again, a city of exclusion.
© Anthony Hernandez, #31, from Pictures for Rome, 1999
© Anthony Hernandez, #9, from Pictures for Oakland, 2000
Some people ask, “What’s so important or compelling about taking pictures of such unpleasant subjects like city dwellers?” . . . My work may be beautiful or it might not be, that just isn’t what I am concerned with. I try to be open and face the city. . . . To me it’s not unpleasant or unbeautiful, it’s just life–which has to be threatening sometimes if it is going to be interesting.”