Perception is a recurring theme within my practice, and has become a foundation for me to explore ideas that reflect on notions of time, space, simultaneity and duration. As an artist, I am interested in the aspects of experience where the real, the known, and the imagined collide. Spatio-temporal relations, and visualizing the invisible are predominant subjects. My interpretations are informed in part by science, philosophy and fiction. Experimentation and process are at the forefront of much of my work, at times resulting in ambiguous narratives and hybrid exercises.
In my work I attempt to articulate something in between the freezing of time—that so often characterizes photography—and its constant passing. I allude to temporalities that are fluid, hypothetical, and imprecise. The photographs in Quantum Blink are composed of two exposures taken instants apart. Each photograph in the series holds a brief sense of continuity, almost like an animation, slightly cinematographic. However, though they provide a notion of movement and progression, their beginning and end is ambiguous and indistinguishable.
Prague-based Dany Peschl’s photographs are cut to the bone with social commentary.
These photographies are only fragment of a long time project called “disturbation”:
‘In the recent series I retell in pictures several stories that should never be seen. The photos capture different people during various intimate situations in a “caught in the act” way. It made us unwanted spectators of strange rituals and obscure moments as simply everyday routine. Because it is. But “disturbation” is not artless opening of locked or semi-closed doors to children’s rooms, toilets or massage salons. Forget voyeurism and fetishism cliché. These photos aspire to reflect not just actual social issues. Politics, pop icons, pope… Therefore to speak only about intimacy as an act is deficient. It is also about what people hide inside themselves. In their inner space full of opinions, attitudes, thoughts, dreams and taste.’
Although most of the visual stories are mockumentary or reconstruction of true and sometimes false memories, the rest remains truly authentic.
Photographer Kerry Skarbakka creates frightening self-portraits in which he appears to be falling. The photos are created with the use of safety rigging, however the process is clearly not for the faint of heart. For more photos see his series “The Struggle to Right Oneself” and “Life Goes On.”
The images stand as ominous messages and reminders that we are all vulnerable to losing our footing and grasp. Moreover, they convey the primal qualities of the human condition as a precarious balancing act between the struggle against our desire to survive and our fantasy to transcend our humanness.
Where Children Sleep- stories of diverse children around the world, told through portraits and pictures of their bedrooms.
James Mollison explains: It occurred to me that a way to address some of the complex situations and social issues affecting children would be to look at the bedrooms of children in all kinds of different circumstances. From the start, I didn’t want it just to be about ‘needy children’ in the developing world, but rather something more inclusive, about children from all types of situations. It seemed to make sense to photograph the children themselves, too, but separately from their bedrooms, using a neutral background.
The book is written and presented for an audience of 9–13 year olds ’ intended to interest and engage children in the details of the lives of other children around the world, and the social issues affecting them, while also being a serious photographic essay for an adult audience.
In the late 70s and early 80s, Greg Reynolds was a closeted gay man in his 20s, working as a campus minister for an evangelical Christian student organization called the InterVarsity Christian Fellowship. During these years, Greg struggled with his homosexuality. He was overwhelmed by grief and saw no option other than to repress his desires for sex and love. In 1978, a missionary friend gave Greg a 35 mm Pentax K1000that she didn’t use:
‘I knew very little about photography, but I loved taking pictures. It wasn’t my intention to document the American evangelical movement, but rather to take photographs of the people and places that were important to me. Now I see that the camera allowed me to say in pictures what I could never say in words.
When therapy and prayer failed to change me into an enthusiastic heterosexual, I came out as a gay man and resigned from the ministry. Today, I am working on turning my Kodachromes into a photo book called Jesus Days. I just launched a Kickstarter, which you can support here to help me bring this project to life. These photos offer a unique perspective into the peculiar world of IVCF, which, at the time, boasted 500 affiliated chapters on secular colleges and university campuses across America. I captured my fellow evangelicals praying and counseling with students, leading Bible studies and group meetings, and engaging in missions abroad. Here are a few pictures from my collection.‘
Diane Arbus’ (New York, 1923–1971) bold subject matter and photographic approach produced a body of work that is often shocking in its purity. Her contemporary anthropology—portraits of couples, children, carnival performers, nudists, middle-class families, transvestites, zealots, eccentrics, and celebrities—also stands as an allegory of the human experience, an exploration of the relationship between appearance and identity, illusion and belief, theatre and reality.
The Martin-Gropius-Bau presents a selection of two hundred photographs that afford an opportunity to explore the origins and aspirations in the photography of Diane Arbus. The exhibition shows all of the artist’s iconic photographs as well as many that have never before been publicly exhibited.