The Medium Format Photography of Markus Simon
Here are the first two images. Both are taken on medium format with a Hasselblad 2013 in the north of the Netherlands. What I like about them is a kind of emptiness. Especially in the first photograph the dunes are somehow similar to the hidden car. The hiddenness makes it almost more real or more natural but not natural in the kind of a flower that you want to pick. You wouldn’t pick a flower out of a vase in a temple. I feel I have to respect something in the shown scenery, which I am not sure of excactly. I guess I take photographs trying to understand and I think few are worth holding on to - when I don’t understand or not exactly understand everything about them. Somehow I feel attracted and rejected at the same time. Most of the images I take, don’t have that quality at all and I don’t like them too much. Only for a while maybe.
I wanted to be a photographer when I was young, but I deciced to do something more meaningful (or what I thought would be meaningful). I was never ambitious and I never pursued any of my obvious talents. And perhaps I‘m still more interested in fractions and frictions - or something like that.
So I don‘t think I am an artist or a photographer. I am just taking photographs sometimes or paint a picture as many people do. And this point is the one I have to value again: the human activity which is somehow in a more expanded view an activity of the world itself.
For that I have to emphasize this personal activity a little bit. Otherwise I would forget about it.
A painter once told me: It is important to value your own life's energy in what you are doing and not so much compare the results to others.
How does the artist herself remember things? In works like Fortune Teller, James builds the impression of something otherworldly around a piece of classic imagery from Americana. The piece stirs the memory of what was once “a vast, frightening landscape as a child”, capturing its evolution through time into an average backyard swimming pool, or “any destination within a simple, perfunctory life”.
Tranquil studio work by photographer DOMINO. New series called COMPANY.
A great inspiration for me are the monochrome imagery of the medieval manuscripts empowered and refined by a vibrating fluid line oozing with drama.
Taylor's images are holding transitional moment in movement as equivalent to the whole process. A significant risk that a pars pro toto will turn into a fallacy is mitigated by scrupulous interruptions to the chain of all that is possible. That deception is a persuasive case of the terrible beauty experienced when gazing at the universe.
Having spent her childhood growing up in Brighton Beach, Brooklyn, Yana Toyber was slightly removed from New York City. “Ocean life is what draws me,” she says. “Growing up I was very attuned to the sea. I'd notice how on different days, different sea creatures would wash ashore. One day it was starfish, the next mussels, and then jellyfish.”
The scale of the paintings is similar to that of an inside joke, but do not let this analogy fool you, these are serious paintings. The most recent iterations of Simorte’s work have been primarily in the 8 x 6 inch format and are materially composed of acrylic on canvas.
Dreaming is not the alleged pedophilia of Balthus but the fact that all of us, like Therese, are split subjects rather than the coherent autonomous moral beings we fantasize ourselves to be. We don’t always like to recognize our own curiosity let alone our aggressive desire for knowledge/control.
Abandoned furniture that has no purpose anymore or simply is not wanted. The ever changing cycle, outdated shapes at the hour of triumph of Swedish design. Chairs, wardrobes and hat stands, a truly urban forest which grows out of the asphalt, climbs street lamps, scales walls, invades the streets...
The hiddenness makes it almost more real or more natural but not natural in the kind of a flower that you want to pick. You wouldn’t pick a flower out of a vase in a temple. I feel I have to respect something in the shown scenery, which I am not sure of excactly.
Helena is a twenty-three year old Londoner with a penchant for oil paints, leopard print and anything ginger-flavoured. She read Visual Arts and Culture, and Sociology at Durham University and is currently juggling working at a creative agency, and engaging with her personal practice.