Molly McCall, USA, Sweet Grass, from the series Memento Vivere, 2019

Sweet Grass, 2019
Digital C-type print on Kodak Endura paper
print 35.56 cm (14×14 inches) frame 50.8×50.8cm (20×20 inches)

My images are created in the darkroom. After printing, the images are toned with coffee, then painted with oil and acrylic paint. My work explores memories with emotional layers embedded in the narratives. I then rephotograph the final image to create a distance and render them into a tangible object for remembrance.

Molly McCall, USA, Velvet Daydream, from the series Memento Vivere, 2019

Velvet Daydream, 2019
Digital C-type print on Kodak Endura paper
print 35.56 cm (14×14 inches) frame 50.8×50.8cm (20×20 inches)

My images are created in the darkroom. After printing, the images are toned with coffee, then painted with oil and acrylic paint. My work explores memories with emotional layers embedded in the narratives. I then rephotograph the final image to create a distance and render them into a tangible object for remembrance.

Molly McCall, USA, Déjà  Vu, from the series Memento Vivere, 2019

Déjà Vu, 2019
Digital C-type print on Kodak Endura paper
print 35.56 cm (14×14 inches) frame 50.8×50.8cm (20×20 inches

My images are created in the darkroom. After printing, the images are toned with coffee, then painted with oil and acrylic paint. My work explores memories with emotional layers embedded in the narratives. I then rephotograph the final image to create a distance and render them into a tangible object for remembrance.

Molly McCall, USA, Fox Boy Fox, from the series Memento Vivere, 2019

Fox Boy Fox, 2019
Digital C-type print on Kodak Endura paper
print 27.82×40.64cm) (10.95×16 inches) frame 38.1×50.8cm (15×20 inches)

My images are created in the darkroom. After printing, the images are toned with coffee, then painted with oil and acrylic paint. My work explores memories with emotional layers embedded in the narratives. I then rephotograph the final image to create a distance and render them into a tangible object for remembrance.

Molly McCall, USA, Bluebird Amulet, from the series Memento Vivere, 2019

Bluebird Amulet, 2019
Digital C-type print on Kodak Endura paper
print 35.56 cm (14×14 inches) frame 50.8×50.8cm (20×20 inches)

My images are created in the darkroom. After printing, the images are toned with coffee, then painted with oil and acrylic paint. My work explores memories with emotional layers embedded in the narratives. I then rephotograph the final image to create a distance and render them into a tangible object for remembrance.

Molly McCall, USA, I Wonder, from the series Memento Vivere, 2019

I Wonder, 2019
Digital C-type print on Kodak Endura paper
print 35.56 cm (14×14 inches) frame 50.8×50.8cm (20×20 inches)

My images are created in the darkroom. After printing, the images are toned with coffee, then painted with oil and acrylic paint. My work explores memories with emotional layers embedded in the narratives. I then rephotograph the final image to create a distance and render them into a tangible object for remembrance.

Mélanie Patris, Belgium, Happiness is so close 1, July 2018

Signed Canson Etching Rag framed print, edition of 5
print 50x50cm (19.685×19.685 inches) frame 50.8×50.8cm (20×20 inches)

My body of work broadly questions the theme of intimacy. I treat it with the exploration of the psychic and the geographic, via the different territories of life. Treating daily life from a poetic view, transforms it into an imaginary new
landscape.

Mélanie Patris, Belgium, Happiness is so close 2, July 2018

Signed Canson Etching Rag framed print, edition of 5
print 50x50cm (19.685×19.685 inches) frame 50.8×50.8cm (20×20 inches)

My body of work broadly questions the theme of intimacy. I treat it with the exploration of the psychic and the geographic, via the different territories of life. Treating daily life from a poetic view, transforms it into an imaginary new
landscape.

Mélanie Patris, Belgium, Happiness is so close 3, July 2018

Signed Canson Etching Rag framed print, edition of 5
print 50x50cm (19.685×19.685 inches) frame 50.8×50.8cm (20×20 inches)

My body of work broadly questions the theme of intimacy. I treat it with the exploration of the psychic and the geographic, via the different territories of life. Treating daily life from a poetic view, transforms it into an imaginary new
landscape.

Mélanie Patris, Belgium, Happiness is so close 4, July 2018

Signed Canson Etching Rag framed print, edition of 5
print 50x50cm (19.685×19.685 inches) frame 50.8×50.8cm (20×20 inches)

My body of work broadly questions the theme of intimacy. I treat it with the exploration of the psychic and the geographic, via the different territories of life. Treating daily life from a poetic view, transforms it into an imaginary new
landscape.

Mélanie Patris, Belgium, Happiness is so close 5, July 2018

Signed Canson Etching Rag framed print, edition of 5
print 50x50cm (19.685×19.685 inches) frame 50.8×50.8cm (20×20 inches)

My body of work broadly questions the theme of intimacy. I treat it with the exploration of the psychic and the geographic, via the different territories of life. Treating daily life from a poetic view, transforms it into an imaginary new
landscape.

Mélanie Patris, Belgium, Happiness is so close 6, July 2018

Signed Canson Etching Rag framed print, edition of 5
print 50x50cm (19.685×19.685 inches) frame 50.8×50.8cm (20×20 inches)

My body of work broadly questions the theme of intimacy. I treat it with the exploration of the psychic and the geographic, via the different territories of life. Treating daily life from a poetic view, transforms it into an imaginary new
landscape.

Yasuhiro Ogawa, Japan, Aizu, 1, 2018 and 2019

Gelatin Silver print, edition of 7, signed
print 27.94×35.56cm (11×14 inches) frame 38.1×50.8cm (15×20 inches)

I’m a Japanese photographer based in Tokyo. This series is a collection of landscape photos taken in Aizu, a northern region of Japan known for its heavy snowfall. I love to shoot snow-covered landscapes with monochrome films because its blur & grainy effects make photos imaginative and poetic.

Yasuhiro Ogawa, Japan, Aizu, 2, 2018 and 2019

Gelatin Silver print, edition of 7, signed
print 27.94×35.56cm (11×14 inches) frame 38.1×50.8cm (15×20 inches)

I’m a Japanese photographer based in Tokyo. This series is a collection of landscape photos taken in Aizu, a northern region of Japan known for its heavy snowfall. I love to shoot snow-covered landscapes with monochrome films because its blur & grainy effects make photos imaginative and poetic.

Yasuhiro Ogawa, Japan, Aizu, 3, 2018 and 2019

Gelatin Silver print, edition of 7, signed
print 27.94×35.56cm (11×14 inches) frame 38.1×50.8cm (15×20 inches)

I’m a Japanese photographer based in Tokyo. This series is a collection of landscape photos taken in Aizu, a northern region of Japan known for its heavy snowfall. I love to shoot snow-covered landscapes with monochrome films because its blur & grainy effects make photos imaginative and poetic.

Yasuhiro Ogawa, Japan, Aizu, 4, 2018 and 2019

Gelatin Silver print, edition of 7, signed
print 27.94×35.56cm (11×14 inches) frame 38.1×50.8cm (15×20 inches)

I’m a Japanese photographer based in Tokyo. This series is a collection of landscape photos taken in Aizu, a northern region of Japan known for its heavy snowfall. I love to shoot snow-covered landscapes with monochrome films because its blur & grainy effects make photos imaginative and poetic.

Yasuhiro Ogawa, Japan, Aizu, 5, 2018 and 2019

Gelatin Silver print, edition of 7, signed
print 27.94×35.56cm (11×14 inches) frame 38.1×50.8cm (15×20 inches)

I’m a Japanese photographer based in Tokyo. This series is a collection of landscape photos taken in Aizu, a northern region of Japan known for its heavy snowfall. I love to shoot snow-covered landscapes with monochrome films because its blur & grainy effects make photos imaginative and poetic.

Yasuhiro Ogawa, Japan, Aizu, 6, 2018 and 2019

Gelatin Silver print, edition of 7, signed
print 27.94×35.56cm (11×14 inches) frame 38.1×50.8cm (15×20 inches)

I’m a Japanese photographer based in Tokyo. This series is a collection of landscape photos taken in Aizu, a northern region of Japan known for its heavy snowfall. I love to shoot snow-covered landscapes with monochrome films because its blur & grainy effects make photos imaginative and poetic.

Mariia Ermolenko, Russia, Flow 5, 2017

Digital C-type print on Kodak Endura paper
print 20x30cm (11.81×7.87 inches) unmounted

In my project I research time. Man is in perpetual search. In Japanese philosophy there is the concept of “Fueki Riuko”. This is about form of the eternal and continuous, which is associated with the current and instant.

Mariia Ermolenko, Russia, Flow 2, 2017

Digital C-type print on Kodak Endura paper
print 20x30cm (11.81×7.87 inches) unmounted

These pictures were taken in different places that I visited. During my travels, I take a very clear view of what is happening. And I do not want this to end. Life is fragile, and our stay in it is fleeting as a journey. My series is about the impression, about the moment; about life and death.

Mariia Ermolenko, Russia, Flow 3, 2017

Digital C-type print on Kodak Endura paper
print 20x30cm (11.81×7.87 inches) unmounted

In my project I research time. Man is in perpetual search. In Japanese philosophy, there is the concept of “Fueki Riuko”. This is about form of the eternal and continuous, which is associated with the current and instant.

Mariia Ermolenko, Russia, Flow 4, 2017

Digital C-type print on Kodak Endura paper
print 20x30cm (11.81×7.87 inches) unmounted

These pictures were taken in different places that I visited. During my travels, I take a very clear view of what is happening. And I do not want this to end. Life is fragile, and our  stay in it is fleeting as a journey. My series is about the impression, about the moment, about life and death.

Mariia Ermolenko, Russia, Flow 1, 2017

Digital C-type print on Kodak Endura paper
print 20x30cm (11.81×7.87 inches) unmounted

In my project I research time. Man is in perpetual search. In Japanese philosophy, there is the concept of “Fueki Riuko”. This is about form of the eternal and continuous, which is associated with the current and instant.

Mariia Ermolenko, Russia, Flow 6, 2017

Digital C-type print on Kodak Endura paper
print 20x30cm (11.81×7.87 inches) unmounted

These pictures were taken in different places that I visited. During my travels, I take a very clear view of what is happening. And I do not want this to end. Life is fragile, and our  stay in it is fleeting as a journey. My series is about the impression, about the moment, about life and death.

Lesia Maruschak, Canada, Blood Red, 2018

Hahnemühle Photo-rag Baryta print
print 20x30cm (11.81×7.87 inches) unmounted

Working across the still and moving image, sculpture and painting, Maruschak’s work – a complex exploration of memory and sensual expression – informs and expands what it means to create. In just three years of practice her works have been collected by museums, and exhibited in solo and group photographic exhibitions worldwide. Her most recent book MARIA received the International Arsenal Book Festival’s Grand Prix (2019, Kyiv).

Lesia Maruschak, Canada, Tous Let Matins du Monds, 2018

Hahnemühle Photo-rag Baryta print
print 20x30cm (11.81×7.87 inches) unmounted

Working across the still and moving image, sculpture and painting, Maruschak’s work – a complex exploration of memory and sensual expression – informs and expands what it means to create. In just three years of practice her works have been collected by museums, and exhibited in solo and group photographic exhibitions worldwide. Her most recent book MARIA received the International Arsenal Book Festival’s Grand Prix (2019, Kyiv).

Lesia Maruschak, Canada, Rising, 2018

Hahnemühle Photo-rag Baryta print
print 20x30cm (11.81×7.87 inches) unmounted

Working across the still and moving image, sculpture and painting, Maruschak’s work – a complex exploration of memory and sensual expression – informs and expands what it means to create. In just three years of practice her works have been collected by museums, and exhibited in solo and group photographic exhibitions worldwide. Her most recent book MARIA received the International Arsenal Book Festival’s Grand Prix (2019, Kyiv).

Lesia Maruschak, Canada, Drowning, 2018

Hahnemühle Photo-rag Baryta print
print 20x30cm (11.81×7.87 inches) unmounted

Working across the still and moving image, sculpture and painting, Maruschak’s work – a complex exploration of memory and sensual expression – informs and expands what it means to create. In just three years of practice her works have been collected by museums, and exhibited in solo and group photographic exhibitions worldwide. Her most recent book MARIA received the International Arsenal Book Festival’s Grand Prix (2019, Kyiv).

Lesia Maruschak, Canada, When will my prince come, 2018

Hahnemühle Photo-rag Baryta print
print 20x30cm (11.81×7.87 inches) unmounted

Working across the still and moving image, sculpture and painting, Maruschak’s work – a complex exploration of memory and sensual expression – informs and expands what it means to create. In just three years of practice her works have been collected by museums, and exhibited in solo and group photographic exhibitions worldwide. Her most recent book MARIA received the International Arsenal Book Festival’s Grand Prix (2019, Kyiv).

Lesia Maruschak, Canada, At the end of the day, 2018

Hahnemühle Photo-rag Baryta print
print 20x30cm (11.81×7.87 inches) unmounted

Working across the still and moving image, sculpture and painting, Maruschak’s work – a complex exploration of memory and sensual expression – informs and expands what it means to create. In just three years of practice her works have been collected by museums, and exhibited in solo and group photographic exhibitions worldwide. Her most recent book MARIA received the International Arsenal Book Festival’s Grand Prix (2019, Kyiv).

Irena Jurca, Slovenia, Sea in Me #4, 2015

Digital prints on Hahnemühle Photo Silk Baryta 310 gsm paper edition 5 + 1AP
print 30x20cm (11.81×7.87 inches) flush mounted and framed

The conceptual series of photographs ‘Sea in me’ revolves around notions of self-reflection, mortality, and migration. By using the symbolic imaginary of sea, dead sea creatures, and withered plants, the artist explores connections between life, searching for the meaning of life and death, with the intention to create the unique language of symbolism that asks for reflection; what becomes our individual and what collective memory.

Irena Jurca, Slovenia, Sea in Me #2, 2015

Digital print on Hahnemühle Photo Silk Baryta 310 gsm paper edition 5 + 1AP
print 30x20cm (11.81×7.87 inches) flush mounted and framed

The conceptual series of photographs ‘Sea in me’ revolves around notions of self-reflection, mortality, and migration. By using the symbolic imaginary of sea, dead sea creatures, and withered plants, the artist explores connections between life, searching for the meaning of life and death, with the intention to create the unique language of symbolism that asks for reflection; what becomes our individual and what collective memory.

Irena Jurca, Slovenia, Sea in Me #3, 2015

Digital print on Hahnemühle Photo Silk Baryta 310 gsm paper edition 5 + 1AP
print 30x20cm (11.81×7.87 inches) flush mounted and framed

The conceptual series of photographs ‘Sea in me’ revolves around notions of self-reflection, mortality, and migration. By using the symbolic imaginary of sea, dead sea creatures, and withered plants, the artist explores connections between life, searching for the meaning of life and death, with the intention to create the unique language of symbolism that asks for reflection; what becomes our individual and what collective memory.

Irena Jurca, Slovenia, Sea in Me #10, 2016

Digital print on Hahnemühle Photo Silk Baryta 310 gsm paper edition 5 + 1AP
print 30x20cm (11.81×7.87 inches) flush mounted and framed

The conceptual series of photographs ‘Sea in me’ revolves around notions of self-reflection, mortality, and migration. By using the symbolic imaginary of sea, dead sea creatures, and withered plants, the artist explores connections between life, searching for the meaning of life and death, with the intention to create the unique language of symbolism that asks for reflection; what becomes our individual and what collective memory.

Paul Biddle, UK, The Dolly Shop, 2019

Hahnemühle Photo-rag 310gsm print, unlimited, signed print, 40.64×40.64cm (16×16 inches) frame 55.88×55.88cm (22×22 inches)

My latest series is about Cabinets of Curiosity. It’s about Man as avid collector and pillager of the Natural World to the detriment of that world, as symbolised by the Dodo.

Irena Jurca, Slovenia, Sea in Me #9, 2016

Digital prints on Hahnemühle Photo Silk Baryta 310 gsm paper edition 5 + 1AP
print 30x20cm (11.81×7.87 inches) flush mounted and framed

The conceptual series of photographs ‘Sea in me’ revolves around notions of self-reflection, mortality, and migration. By using the symbolic imaginary of sea, dead sea creatures, and withered plants, the artist explores connections between life, searching for the meaning of life and death, with the intention to create the unique language of symbolism that asks for reflection; what becomes our individual and what collective memory.

M. Judit Horváth, Hungary, Simulacrum 16, 2018

Digital C-type prints on Kodak Endura paper
print 25.4×38.1cm (10×15 inches), frame 38.1×50.8cm (15×20 inches)

“The unity of life and death is the same for all living things, but only human memory can preserve it. It may become perpetual, with time and an end to destruction. ” M. Judit Horváth

Simulacrum, her recent photo album is a collection taken over ten years. This album – albeit significantly different from her previous documentary photographs – still bears numerous similarities.

M. Judit Horváth, Hungary, Simulacrum 2, 2018

Digital C-type print on Kodak Endura paper
print 25.4×38.1cm (10×15 inches), frame 38.1×50.8cm (15×20 inches)

“The unity of life and death is the same for all living things, but only human memory can preserve it. It may become perpetual, with time and an end to destruction. ” M. Judit Horváth

Simulacrum, her recent photo album is a collection taken over ten years. This album – albeit significantly different from her previous documentary photographs – still bears numerous similarities.

M. Judit Horváth, Hungary, Simulacrum 5, 2018

Digital C-type print on Kodak Endura paper
print 25.4×38.1cm (10×15 inches), frame 38.1×50.8cm (15×20 inches)

“The unity of life and death is the same for all living things, but only human memory can preserve it. It may become perpetual, with time and an end to destruction. ” M. Judit Horváth

Simulacrum, her recent photo album is a collection taken over ten years. This album – albeit significantly different from her previous documentary photographs – still bears numerous similarities.

M. Judit Horváth, Hungary, Simulacrum 3, 2018

Digital C-type print on Kodak Endura paper
print 25.4×38.1cm (10×15 inches), frame 38.1×50.8cm (15×20 inches)

“The unity of life and death is the same for all living things, but only human memory can preserve it. It may become perpetual, with time and an end to destruction. ” M. Judit Horváth

Simulacrum, her recent photo album is a collection taken over ten years. This album – albeit significantly different from her previous documentary photographs – still bears numerous similarities.

M. Judit Horváth, Hungary, Simulacrum 4, 2018

Digital C-type print on Kodak Endura paper
print 25.4×38.1cm (10×15 inches), frame 38.1×50.8cm (15×20 inches)

“The unity of life and death is the same for all living things, but only human memory can preserve it. It may become perpetual, with time and an end to destruction. ” M. Judit Horváth

Simulacrum, her recent photo album is a collection taken over ten years. This album – albeit significantly different from her previous documentary photographs – still bears numerous similarities.

M. Judit Horváth, Hungary, Simulacrum 6, 2018

Digital C-type print on Kodak Endura paper
print 25.4×38.1cm (10×15 inches), frame 38.1×50.8cm (15×20 inches)

“The unity of life and death is the same for all living things, but only human memory can preserve it. It may become perpetual, with time and an end to destruction. ” M. Judit Horváth

Simulacrum, her recent photo album is a collection taken over ten years. This album – albeit significantly different from her previous documentary photographs – still bears numerous similarities.

Atsushi Fujiwara, Japan, SEMIMARU 1, 2016

Digital C-type print on Kodak Endura paper
print 22.86×35.56cm (9×14 inches), frame 40.64×50.8cm (16×20 inches)

SEMIMARU is a piece from Japanese classical Noh theatre. The prince Semimaru, exiled to Osaka Mountain by his father, Emperor Engi because he is blind, encounters his sister Sakagami who is afflicted with a strange illness with her hair standing on end, and they lament their misfortunes.

Atsushi Fujiwara, Japan, SEMIMARU 2, 2016

Digital C-type print on Kodak Endura paper
print 22.86×35.56cm (9×14 inches), frame 40.64×50.8cm (16×20 inches)

So is this the great divide of Mount Osaka, where strangers and acquaintances, People coming and people going, meet and part ways – Semimaru – Nearing the end of cherry blossom season, the notes of Semimaru’s biwa lute echoing in my thoughts, I set out on these walks and wanderings.

Atsushi Fujiwara, Japan, SEMIMARU 3, 2016

Digital C-type print on Kodak Endura paper
print 22.86×35.56cm (9×14 inches), frame 40.64×50.8cm (16×20 inches)

SEMIMARU is a piece from Japanese classical Noh theatre. The prince Semimaru, exiled to Osaka Mountain by his father, Emperor Engi because he is blind, encounters his sister Sakagami who is afflicted with a strange illness with her hair standing on end, and they lament their misfortunes.

Atsushi Fujiwara, Japan, SEMIMARU 4, 2016

Digital C-type print on Kodak Endura paper
print 22.86×35.56cm (9×14 inches), frame 40.64×50.8cm (16×20 inches)

So is this the great divide of Mount Osaka, where strangers and acquaintances, People coming and people going, meet and part ways – Semimaru – Nearing the end of cherry blossom season, the notes of Semimaru’s biwa lute echoing in my thoughts, I set out on these walks and wanderings.

Atsushi Fujiwara, Japan, SEMIMARU 5, 2016

Digital C-type print on Kodak Endura paper
print 22.86×35.56cm (9×14 inches), frame 40.64×50.8cm (16×20 inches)

SEMIMARU is a piece from Japanese classical Noh theatre. The prince Semimaru, exiled to Osaka Mountain by his father, Emperor Engi because he is blind, encounters his sister Sakagami who is afflicted with a strange illness with her hair standing on end, and they lament their misfortunes.

Atsushi Fujiwara, Japan, SEMIMARU 6, 2016

Digital C-type print on Kodak Endura paper
print 22.86×35.56cm (9×14 inches), frame 40.64×50.8cm (16×20 inches)

So is this the great divide of Mount Osaka, where strangers and acquaintances, People coming and people going, meet and part ways – Semimaru – Nearing the end of cherry blossom season, the notes of Semimaru’s biwa lute echoing in my thoughts, I set out on these walks and wanderings.

Melanie Walker, USA, Margaret’s Wedding 1, 2018-2019

All 6 images were made originally in 1955 and the decayed negatives were rephotographed
2018-2019.
Digital C-type print on Kodak Endura paper
print 40.64×27.09cm (16×10.67 inches) frame 50.8×38.1cm 20×15 inches)

These images have been in the making for over 50 years, representing a posthumous collaboration with my father and an investigation of the materiality and impermanence of the photographic medium. The negatives have been subjected to fluctuations in temperature and moisture barely clinging to the base of the film.

Melanie Walker, USA, Margaret’s Wedding 2, 2018-2019

All 6 images were made originally in 1955 and the decayed negatives were rephotographed
2018-2019.
Digital C-type print on Kodak Endura paper
print 40.64×27.09cm (16×10.67 inches) frame 50.8×38.1cm 20×15 inches)

These images have been in the making for over 50 years, representing a posthumous collaboration with my father and an investigation of the materiality and impermanence of the photographic medium. The negatives have been subjected to fluctuations in temperature and moisture barely clinging to the base of the film.

Melanie Walker, USA, Margaret’s Wedding 3, 2018-2019

All 6 images were made originally in 1955 and the decayed negatives were rephotographed
2018-2019.
Digital C-type print on Kodak Endura paper
print 40.64×27.09cm (16×10.67 inches) frame 50.8×38.1cm 20×15 inches)

These images have been in the making for over 50 years, representing a posthumous collaboration with my father and an investigation of the materiality and impermanence of the photographic medium. The negatives have been subjected to fluctuations in temperature and moisture barely clinging to the base of the film.

Melanie Walker, USA, Margaret’s Wedding 4, 2018-2019

All 6 images were made originally in 1955 and the decayed negatives were rephotographed
2018-2019.
Digital C-type print on Kodak Endura paper
print 40.64×27.09cm (16×10.67 inches) frame 50.8×38.1cm 20×15 inches)

These images have been in the making for over 50 years, representing a posthumous collaboration with my father and an investigation of the materiality and impermanence of the photographic medium. The negatives have been subjected to fluctuations in temperature and moisture barely clinging to the base of the film.

Melanie Walker, USA, Margaret’s Wedding 5, 2018-2019

All 6 images were made originally in 1955 and the decayed negatives were rephotographed
2018-2019.
Digital C-type print on Kodak Endura paper
print 40.64×27.09cm (16×10.67 inches) frame 50.8×38.1cm 20×15 inches)

These images have been in the making for over 50 years, representing a posthumous collaboration with my father and an investigation of the materiality and impermanence of the photographic medium. The negatives have been subjected to fluctuations in temperature and moisture barely clinging to the base of the film.

Melanie Walker, USA, Margaret’s Wedding 6, 2018-2019

All 6 images were made originally in 1955 and the decayed negatives were rephotographed
2018-2019.
Digital C-type print on Kodak Endura paper
print 40.64×27.09cm (16×10.67 inches) frame 50.8×38.1cm 20×15 inches)

These images have been in the making for over 50 years, representing a posthumous collaboration with my father and an investigation of the materiality and impermanence of the photographic medium. The negatives have been subjected to fluctuations in temperature and moisture barely clinging to the base of the film.

Josie Purcell, UK, Harena Now #3, 2018

Digital C-type print on Kodak Endura paper
print 84.1×59.4cm (33.11×23.39 inches)  flush mounted

Harena Now responds to the global sand crisis and the dire consequences it is having not only on eco-systems but human life too. It challenges how we respond to these issues through an abstract aesthetic.

Marko Umicevic, Croatia, Terra Incognita #03, 2018

Archival pigment print on Canson paper, limited edition of 8 prints (+ 2AP), with certificate of authenticity
print 42 x 56.5 cm (16.5 x 22.3 inches) flush mounted and framed

In the series Terra Incognita (2018-present), I have materialized nature by placing light sensitive paper directly onto the soil, beneath stones, and exposed it to darkness and environmental activity for 30 days. Photographs from the series represent the ungraspable and unknown life of the Earth, existing far from human sight.

Anastasia Vovk, Russia, Flowers 1, 2018

Experimental cyanotype print
print 45x30cm (17.72×11.81 inches) frame 50.8×38.1cm (20×15 inches)

My diploma project included old alternative photography processes such as cyanotype and gum bichromate printing. I started to experiment with them and it became clear that it is absolutely the art language I’ve been searching for all this time: sensitive, atmospheric and fragile.

Ky Lewis, UK, Poppy Heads, 2019

Hahnemühle archival pigment print
edition 1 of 25
signed and edition verso
print 35x25cm (13.78×9.84 inches) frame 50.8×38.1cm (20×15 inches)

Ky Lewis is an artist using light and chemicals as the core of her practice with an interest in site specific responses and cycles of life. The Ephemera Botanica series is a photographic interpretative and emotional response to the environment I work in at my allotment.

Sayako Sugawara, UK, Gipfel, from the series Sporenland 2018, (Original material from 1906)

Photo emulsion on Japanese paper
unique print signed
print 36.4×25.5cm (14.33×10.04 inches) frame 50.8×38.1cm (20×15 inches)

Sporenland is a response to a photo archive by an Austrian alpine photographer (1874-1959). Some of the glass negatives from the archive had suffered from mould damage. Following the cognitive associations these traces were isolated and enlarged onto Japanese paper in the darkroom and reconfigured into new and imaginary landscapes.

Ky Lewis, UK, Physalis, 2019

Hahnemühle archival pigment prints
edition 1 of 25
signed and edition verso
print 35x25cm (13.78×9.84 inches) frame 50.8×38.1cm (20×15 inches)

Ky Lewis is an artist using light and chemicals as the core of her practice with an interest in site specific responses and cycles of life. The Ephemera Botanica series is a photographic interpretative and emotional response to the environment I work in at my allotment.

Jo Stapleton, UK, Bird Head, 2019

Fomatone MG classic fibre based (mat) Lith print
print 33x28cm (13×11.02 inches) frame 50.8×38.1cm (20×15 inches)

‘Bird Head’ is a collaboration with an unknown studio photographer, the original glass plate negative (circa 1901) photographed using slow speed ADOX Silvermax 35mm film, on a light box with own object (a model bird) added, to produce a new negative and subsequently Lith printed as a reversal negative image.

Sandro Crisafi, UK, Silvery Motion #31, 2018

Oxidised Gelatin Silver print
signed unique assemblage, framed
print 34x34cm (13.39×13.39 inches)

Fascinated by developing his own prints in the dark room, Sandro worked on several projects with no use of camera and only using drawings and chemicals. This project consists of unique photographic assemblages of abstract naturally oxidised prints.

Jo Stapleton, UK, Falling, 2019

Chris Byrnes, Australia, Experimental Vandyke I, 2017

Vandyke print using original pinhole photograph
1 only signed and dated verso
print 40.5×30.5cm (15.94×12.00 inches) frame 50.8×38.1cm (20×15 inches)

Master Fine Art entitled Circles of Light: An Investigation of the Photographic Medium and a Chance Encounter. Utilising new and expired photographic alchemy to investigate the chance, random or accidental glitch event. My research and artistic production focuses on a primal, handmade, low technology photographic experience. This print is an experimental chemical mix expired Vandyke, hence the blue-grey and brown tones and on a printmaking paper.

Nettie Edwards, UK, Woodland Walk, Painswick Rococo Gardens, 2014

Aquilegia Anthotype print on cartridge paper, framed
framed print 40x40cm (15.75×15.75 inches)

Since 2014, Nettie Edwards has been working with the Anthotype process: plant-based photo printing invented by Sir John Herschel in 1842. Anthotypes cannot be fixed and so these ephemeral works will eventually be consumed by the sunlight that created them. See more at hortuslucis.wordpress.com

Chris Byrnes, Australia, Experimental Vandyke II, 2017 

Vandyke print on printmaking drawing pad sheet (wire bound) using original pinhole photograph 1 of 2 signed and dated verso
print 38x28cm (14.96×11.02 inches) frame 50.8×38.1cm (20×15 inches)

Master Fine Art entitled Circles of Light: An Investigation of the Photographic Medium and a Chance Encounter. Utilising new and expired photographic alchemy to investigate the chance, random or accidental glitch event. My and artistic production focuses on a primal, handmade, low technology photographic experience.

Megan Jill Daly, UK, Moon Form, 2018

Original Cyanotype print on Sugar Paper, edition of 1, signed and framed
print 42x22cm (16.54×8.66 inches)

Daly’s practice looks for experimental ways of using various photographic processes, primarily focusing on the body and the natural world. Moon Form is a Cyanotype print made in Scotland, created using photographic negatives, sunlight, wind and water.

Liz Harrington, UK, Ephemeral Landscape No. 14-17, 2018

Four cyanotype prints on Arches Platine paper of 1, signed and edition verso, 4 x prints 9.5×14.5cm (3.74×5.71 inches) in one frame; total print space (8.66×12.6 inches)

The camera-less cyanotype images ‘Ephemeral Landscape no.14-17’ were inspired by a fascination with the short-lived micro landscapes caused by tides, rivers, rain and snow.

Attila Pasek, UK (b Hungary), One Happy Little Accident, 2016

Tin type in floating frame
edition 1 of 1
tin type 10×12.5cm (3.94×4.92 inches)

I made this plate in 2017. During development it had a little accident, I touched the coated surface with something. At first, I was heartbroken, but later I found the patch really interesting. The patch is changing continuously; first it looked like a butterfly and now more like a wolf’s head.

Maizhou Yuan, China, Jiaqi 1, 2018

Digital C-type print on Kodak Endura paper
print 17.78×21.34cm (7×8.4 inches) unmounted

“She fought with depression.
She is a dancer.
She will be an art therapist.”

I took these photos for my friend Jiaqi with a Polaroid SLR 680 and a box of expired film, which presents coral pattern and stains on the images other than normal film.

Maizhou Yuan, China, Jiaqi 2, 2018

Digital C-type print on Kodak Endura paper
print 17.78×21.34cm (7×8.4 inches) unmounted

“She fought with depression.
She is a dancer.
She will be an art therapist.”

I took these photos for my friend Jiaqi with a Polaroid SLR 680 and a box of expired film, which presents coral pattern and stains on the images other than normal film.

Maizhou Yuan, China, Jiaqi 3, 2018

Digital C-type print on Kodak Endura paper
print 17.78×21.34cm (7×8.4 inches) unmounted

“She fought with depression.
She is a dancer.
She will be an art therapist.”

I took these photos for my friend Jiaqi with a Polaroid SLR 680 and a box of expired film, which presents coral pattern and stains on the images other than normal film.

Maizhou Yuan, China, Jiaqi 4, 2018

Digital C-type print on Kodak Endura paper
print 17.78×21.34cm (7×8.4 inches) unmounted

“She fought with depression.
She is a dancer.
She will be an art therapist.”

I took these photos for my friend Jiaqi with a Polaroid SLR 680 and a box of expired film, which presents coral pattern and stains on the images other than normal film.

Maizhou Yuan, China, Jiaqi 5, 2018

Digital C-type print on Kodak Endura paper
print 17.78×21.34cm (7×8.4 inches) unmounted

“She fought with depression.
She is a dancer.
She will be an art therapist.”

I took these photos for my friend Jiaqi with a Polaroid SLR 680 and a box of expired film, which presents coral pattern and stains on the images other than normal film.

Maizhou Yuan, China, Jiaqi 6, 2018

Digital C-type print on Kodak Endura paper
print 17.78×21.34cm (7×8.4 inches) unmounted

“She fought with depression.
She is a dancer.
She will be an art therapist.”

I took these photos for my friend Jiaqi with a Polaroid SLR 680 and a box of expired film, which presents coral pattern and stains on the images other than normal film.