Patrick Winfield is a New York based photographer and graphic designer who frequently uses Polaroid's to create dynamic visual stories. These Hockney-esque composites are from 2008 and use Polaroid spectra 600/779 film on plexi glass. Patrick's work has gained a healthy following in recent years and has ben featured in Juxtapose, Wooster Collective, Boing Boing and can be seen at the Unison Art Center, Open Space Beacon and Polaroid.
Jeff Chien-Hsing Liao immigrated to Vancouver from Taiwan when he was 18, eventually making his way to New York to study art and photography at Pratt Institute and The School of Visual Arts. "Habitat 7" is Liao's first solo exhibition and offers a Panoramic document of the neighborhoods that evolved along the #7 train in Queens NY. The project invites a reconsideration of the ways in which modern societies evolve around the manmade river basins of today.
Liao works with a large format 8 x 10 camera. Many shots of a single scene over a period of time are then grafted together with digital technology. “By joining the pieces together in post-production,” Liao says, “I can best represent the atmosphere of time and give both panoramic and detailed representation of the environment.” With these cinematic photographs, Liao is “interested in observing how people uphold their ethnic traditions while pursuing the typical American dream.”
A trained architect and the son of the Surrealist artist Roberto Matta, Matta-Clark occupied the uneasy territory between the two professions when architecture was searching for a way out of its late Modernist doldrums. His best-known works of the ’70s, including abandoned warehouses and empty suburban houses that he carved up with a power saw, offered potent commentary on both the decay of the American city and the growing sense that the American dream was evaporating. The fleeting and temporal nature of that work — many projects were demolished weeks after completion. My interest in is work is not only these architectural sculptures but the way in which he chooses to photographically document and present his work.
Benjamin Lowy is a New York based freelance photographer who's work brings him to war torn countries like Iraq, Liberia, and Haiti, to name a few.
"Fustrated and bored working with digital cameras day in and out, i began using a "toy" camera that let e overlap images and create an abstract narrative. I decided that with using one role of film I could create a storyline, which is what I took to calling them: A panoramic image representing an idea or space that I could not illustrate with my digital cameras."
-Benjamin Lowy
Andreas Gefeller's new work "Supervisions" offers a new perspective on existing locations. These large scale color prints are both beautifully simple and crammed with detail. By rigging up a hand held tripod contraption that looks like a crane boom, Gefeller surveys the surface from above, documenting every square inch of his chosen environment. Hundreds of photos are then painstakingly stitched together to create the final image.
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In this series of work titled "Habitat Machines" David Trautrimas’ explores the construct of home with a series of futuristic residential buildings born of everyday objects. From Art Deco coffee pots to the Constructivist grid pattern on an old bathroom scale, Trautrimas searches for source materials which allude to a greater architectural principle usually unnoticed in these machines.
JR is a 25-year-old Parisian of mixed race (he has Tunisian and eastern European blood), from a middle-class background. He never reveals his full name because it “would add nothing”. In his teens, he “tagged” as a graffiti artist, but only started taking photographs when he found a camera on the Paris Métro as a 17-year-old. He is now, in his own words, a hybrid “photograffeur”, who pastes enormous black-and-white photographic canvases in various urban environments. In Britain, his best- known work is certainly Ladj Ly — a photograph that captures all the tensions of the 2004 Paris suburb riots. But he has made his mark around the world.
JR says he is not political. Rather than being an “artist with a cause”, he is “an artist who causes people to think”. He has never caused more ructions than he did in Israel and Palestine, where he pasted photographs of three religious worthies — a rabbi, an imam and a priest — pulling silly faces. JR put their pictures everywhere: in Ramallah, in Tel Aviv and, most famously, on the wall that separates Israel from the West Bank. He was arrested by the Israeli army for his trouble-making.
“It was frightening sometimes,” he admits. “There is a real conflict going on there that I was very aware of. But I was never saying, ‘I want to change this or that.’ The reaction of everyday people to what I was doing was great. They would give me the walls of their houses to do it. The art made a lot of sense to people. Pasting a picture of an Israeli and a Palestinian together on a wall in Ramallah is really quite a strong thing to see.”
The action was more than an artistic success. The imam and the rabbi who featured in the photographs became friends. They even travelled to Europe together to paste their own photos in Geneva and deliver a lecture in Paris. But JR makes no grand claims for his work. Indeed, he admits every other minute: “I know what I do does not change the world . . . it can only make a difference to how a few people look at the world.”
-Times Online UK
Specializing in experimental imagery, Heather has served at the forefront of digital camerawork from its earliest days. Her newest work explores the rich and dynamic landscape of Nevada in a montage of elements that represent daily observations.
Evol is a German artist who studyed at the Kuopio Academy in Finland and received a degree in product design from Schwabisch Gmund in Germany. He's ben exibiting work since 2004 with his first solo show being held this mont at the Wilde Gallery in Berlin.
"EVOL’s interests have focused on the overlooked and the refuse of urban offering visual comments and thoughts that remind us of the failure of modernism and its visions of an architectural utopia. EVOL draws our attention to the collective memory of places, a memory that is open ended, but in it’s decoding always seems to remain strangely personal. The artists‘ exploration of urban sites and the visual ‚background‘ noise of the city is a stark reminder of the transience of life as well as the certainty of death.
The pictures of EVOL are quite literally decaying from their moment of inception. The artist places materiality itself in the forefront of his expression of the urban condition, its promise of ruin and eventual cyclical gentrification.
Architectural elements dominate EVOL’s images and their photographic precision is the result of a multitude of labour-intensive stencils that are layered, applied and traced with spray cans on found wood and discarded cardboard. It is a reverse imaging process that finally arrives at a model of representation that is not painting, not photography, not graffiti and not drawing, but a synthesis of them all."
- Carson Chan
