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11×11 in. Unframed Mark Hartman Untitled Billboard No. 2
Looking like an abstract painting, these images are actually shredded billboards found in Panama. When workers shred expired ads what remains is often a beautiful chaos of color, shape, and pattern. Hartman was attracted to the ever-changing shapes, and c
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In this series, Martyn explores themes of memory and fragility, using strong elements of naturalism. Here, the broken wings of the butterflies demonstrate the delicacy of nature, leading us to question our own finite existence. The vibrant blue plate cont
20×24 in. Adam Rankin Eric
The Moving series is a set of portraits taken in the weeks leading up to the sale of the family home. In each portrait, the subject floats above and through a shared memory, heading towards something new and undocumented, collectively redefining what the idea of home and family is becoming.Moving was shot in Edmonton, Alberta in the summer of 2005. The 5th member of our family, the red canoe, has been around as long as I have. Oddly enough, it has never seen the water and was sold shortly after theMoving series was taken, along with the family home. This particular image was shot in a shopping mall parking lot close to our family home. The mall has since been demolished and is now a bunch of condos. Both my sister and I spent a lot of time there over the years. On shoot day, my Dad was on lighting and grip and my Mum correlated film. The canoe was shot on location supported by scaffolding.
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80×80 cm. Visarute Angkatavanich Interlude of the Blue
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20×30 Mounted in Plexi Barbara Erdmann Hubris
To capture these moments and close-up textures, Erdmann uses a Canon camera and lens to ensure the highest resolution for her photos. Barbara says, "I will click a thousand times before capturing the one spectacular photo that speaks to her. I become a bit obsessed." Barbara specializes in large-format images, and favors mounting them in acrylic for a clean and modern look to accentuate the striking images.
The artwork is 20x30 Mounted in Plexi.
6.5×9.5 in. Amy FINKELSTEIN [photograph] 10 Jan 2013
"My work process involves photographing fields of matter and discovering what these fields, within the structure of this media, can potentially yield. Recently, I have been working with India ink applied to translucent drafting film, which is hung and backlit for photographing. I shoot with an 8x10 camera and print in a traditional color darkroom. The subject matter is not a construct of previously sketched and carefully rendered images. It is rather a documentation of collaborative happenstance with material and mark, and with the catalytic ability for photography to shift this literal matter into potential notions of reference." Read more in the description below.
A Pattern of Monstrosity
I hope that my work conveys some sense of the enigma of the human condition, the existential absurdity of life, and an appreciation for the mythologies in which we swaddle ourselves as proof against the unknown. Art is a way for me, a finite creature bowed beneath the weight of infinite mysteries, to wrangle this whole mess into something resembling a coherent philosophy.
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