I grew up on a farm in rural New Zealand, with a childhood barefoot ,wild and free. In part my photographic work pulls from my childhood freedoms and adventures that still exist so strongly in my mind, as well as an exploration of childhood and all it encompasses , both light and dark.
Today we live on a small block of land where I strive to replicate this childhood for my children… it is here in our wild and wonderful surroundings that I endeavor to tell their story .. Life as it is.
Niki Boon – Bio
I am a previously trained physiotherapist turned photographer and mother of four wild and free children living in Marlborough, New Zealand.
My current project was born form the desire to document my family’s days as we pursue an alternative education and lifestyle with our children in our rural environment.
In the body of work Between Land and Sky I chose from the beginning to be attuned to the often overlooked and ordinary events of everyday life that attract my attention – fleeting time and the changes in light and mood from one second to the next. The camera can capture these moments, but contingency and context are required to be able to see the difference between what was and what is. The work was inspired by a wish to create a series of images that mimics the sensory and visual cues that inform my recollection of that which is both highly personal but also true to experience. The physicality of that experience is condensed, or rather transmuted, into a sprinkling of space, color, visual, and even auditory phenomena.
Although these images were shot in Alaska, they deliberately avoid being grounded to a specific location. The captured, fleeting moments are grounded in the photographic real – two summers and winters with my family in Anchorage, Alaska – however, because these scenes are isolated from a larger continuum, the meaning of the images remains open-ended. The fragmentary views are both elusive and weightless, offering no more than a poetic pause or glimpse of the temporal and physical space that we inhabit.
Meike, originally from The Netherlands, currently lives in Anchorage, Alaska. She studied Cinematography at the University of California Los Angeles (UCLA) and Photography at Savannah College of Art and Design (SCAD) where she is a Master of Fine Arts Photography Candidate. In the past two years her photographs have been included in the All Alaska Biennial at the Anchorage Museum Rasmussen Center in Alaska, Smaller Footprints at the Lancaster Museum of Art and History (MOAH) in California and Punctum: Photographic Center North-West’s 20th Annual Photography Exhibition, where her diptych Sparks was honored with the first place award. In 2016 she was one of a hundred photographers selected to attend Review Santa Fe with the body of work Between Land and Sky.
Limbo is a place where frustration and indecision hide. It is where clarity and confusion come to fight, both home and prison for those who cannot find their way. This is where you lie down to close your eyes and block out the world—the same spot where you wake up embracing, yet still unsure of, what lies ahead.
Limbo is a collection of photographs taken during a personal moment of transition in my life where fear and self-doubt, frustration and uncertainty, keep me from grasping what I can make of my future with my own two hands. For now, I reside in my hiding place, a false calm filled with restless anxiety. With definite answers well out of reach and any demands for it trivial and foolish, I have tried to endure this stinging unease, attempting to discover new worlds in my state of unseeing.
Kenji Mercado (b.1993) is a Manila based photographer. Kenji, who was born and raised in Manila eventually had to move to the strange and quiet town of Baler with his mother and younger brother to start a new life. There, at a young age, he learned the difference between the complicated city life and the simple, undemanding provincial life. He accidentally developed an interest in photography when a couple of youngsters left a digital camera in his mother’s restaurant. But when he was not allowed to keep the camera and instead told to wait for the owner to claim the lost camera, his hunger for taking photos only became stronger. Eventually back in the city for college, Kenji and photography met again. This time, he already has his own camera and was free to do anything with it, so, he took it out to the streets. Since then, his fascination of the streets has never tarnished and kept him going outside to take more photos.
He became a participant of the 11th Angkor Photo Workshop in Cambodia in 2015. That experience just opened more doors for him and left him hungry for more. At the moment, he’s trying balance his time between freelance wedding photography and exerting efforts to get into world of social documentary and art photography.
The photographs in Selected People are fabrications that are also truthful documents. These composite photographs are scrupulously additive: I’ve changed nothing in the original scene, only selected what to keep in and what to leave out. My work shows a particular place over time and reveals a surprising world–sometimes orderly, sometimes chaotic–that is visible only with a camera.
Pelle Cass is a photographer and artist best known for Selected People, a series that records people in spaces in the city over time. In his previous work, he has worked in the studio, mixing drawing, painting, and sculpture with photography since the 1970’s. His work is owned by the Fogg Art Museum, the Addison Gallery of American Art, the Polaroid Collection, the DeCordova Museum, the Peabody Essex Museum, and the MFA, Houston, and others. Recent solo shows have appeared at Gallery Kayafas in Boston, the Houston Center for Photography, the Photographic Resource Center in Boston, and group shows include the Eastman House, the Albright Knox Gallery, the Metamorf Biennial for Art and Technology (Norway). His work has featured in such places as Wired, Gizmodo, the Washington Post, Vice, and many others. He has been a Yaddo Fellow three times, a Polaroid Fellow three times, and won awards from the MA Cultural Council (finalist) and the Artist’s Resource Trust. Recent contributions to books include PhotoViz (Gestalten,), Deleuze and the City (University of Edinburgh Press), and Langford’s Basic Photography (Focal Press).
In the high plains of Ladakh, India, lives a community of 16 Kharnak nomadic families, working in the Pashmina wool business for the past generations. Together, they own over 7000 sheep and goat and around 300 yaks, which they graze daily at over 4.700 meters.
To overcome the hardship of daily life in such an isolated place combined with the sacrifices the nomads have to make every year to keep their livestock alive and healthy, this trans-generational community needs to be committed to work closely together. The interdependency of the nomads with their livestock defines their sustainable lifestyle, which is intimately related with nature and forms a perfect but fragile circle that requires a lot of effort and dedication to make it work.
The Pashmina wool trade is undoubtedly an important business in the region. Although sold at very high prices in European markets, the producers only earn a fraction of the end price. Regardless, many families and communities still depend on this practice, being their only income and knowhow. Government efforts and incentives aiming at fair trade are almost inexistent for these nomadic communities battling to keep their business alive.
For a few years now, younger generations have been leaving behind the highlands in search for a better life in the cities, this generational gap will extinct the nomadic practices of their ancestors. The disappearance of such pure lifestyle is inevitable and might eventually be forgotten. City migration is not a novelty, and the problems faced follow similar patterns globally.
The loss of the Kharnak Nomads’ culture to the modern society has a very important connotation. Their way of living, traditions and rich culture is a true example of a community that lives sustainably, proves respect for nature and embraces a conscious lifestyle; aspects that we as a “modern” society should crave for.
Ronald Patrick (1979) was born and raised in Santiago de Chile. After completing his studies on Business and Economics, and working in the corporate world in San Francisco for 3 years, he decided to fully engage for his passion for photography to shed light on untold human experiences.
Since 2008, he has been working in the photo-documentary field as well as in corporate photography. He has worked on personal projects and commissioned work all over the world, having published in Time Magazine, Stern, Monocle, Vice, In-Lan, The Guardian, International Herald Tribune, Lens Culture, Friday Magazine and The Wall Street Journal, amongst others.
Corporate clients include Nike, The North Face, Lan Airlines, Ultramar Group, Copec, Government of Chile, Bloomberg and many more.
To this date, he has also published 4 photography books and his work has been exhibited in solo and collectively in various galleries in the USA, Spain, Cambodia and Chile.
-“I was revisiting the area to continue my research. Took out my iPhone, shot a quick photo of the boulder for my notes and then moved literally two meters to the left and took a second photo from that new angle. Later that night when I was uploading the imaged the geo-tagging revealed to my astonishment that the first photo was shot in Cyprus while the second was shot in the UK.”
“Defining Lines” is focused on the areas in and around the Sovereign Base Area of Akrotiri in Cyprus. The Area, which is one of the two British Sovereign Territories created in 1960, is autonomous and has as head of the state the British Monarch. There are no border barriers, no custom posts between the Area lands and the Republic. Normal day to day civilian life takes place along the peninsula and right next and inside the border. It is hard to tell if you have crossed into UK land. Using modern technology and such devices as iPhones and services like Google Maps that the border becomes apparent and real. These borders are open at all times. They separate the land at all times.
To make work about borders is to work in a context where evidence, particularly photographic evidence plays an important role. We are familiar with news images that show migrants as victims or criminals. Passport photographs are taken as proof of identity. The story of traumatic occurrences in a person’s life must be repeated again and again as evidence of their right to be in Europe.
I have visited the area over short periods of time during the last two years and made images along the border lines as revealed by Google Maps or from within the area designated as UK ground. I do not give an indication of the exact points, as I do not try to make a documentary about the location, but rather I am focusing on creating a visual world that might intrigue the viewer with the absurdity of the situation and perhaps even make him question some of the prevailing perceptions of borders. The nature of the Border itself the inanimate often invisible and line that exists only after Sovereign powers decide to create it.
At the time that the project was created Brexit was not a reality. There were questions that were constantly ignored regarding the current status of the borders. In the near future and when the separation of the UK from the EU takes place, those borders will offer an even more complicated situation where a car will drive in and out of the EU within meters. Where a house and a swimming pool will be half in one Union and the other half will be part of another Union.
The titles of the images give an indication to what is seen, without revealing too much. Warm tones prevail and the choice of that palette creates a dichotomy between the apparent serenity of the photographic composition and the actual social and political that the landscape presents.
When exhibited the maps that are part of the project are printed in very large sizes on cheaper paper or vinyl and cover the walls or the floor of the space functioning as universal backgrounds while the photographs are printed and framed in sizes from 150×120 cm to 20x25cm and placed on different, but repeatable sizes on the walls. One has to move along the visual line that the images create and sometimes raise the eyes higher or stoop lower.
Nikolas Ventourakis is a visual artist living and working between Athens and London. His practice situates in the threshold between art and document, in the attempt to interrogate the status of the photographic image. A quest that unfolds in the crucial years of the digital revolution, when a crucial overlap between producers and viewers seems to have reset all previous critical discourses. Central to Ventourakis’s visual work is a denial for a one-way resolution and an invitation to embrace an ambiguous imagery, where the photographic is not yet real, and the familiar is a projection of a mix of memory – stemming from both private and media experiences – with abstract thinking. Ventourakis’ fascination lies in our need for stories to be conclusive, which cannot but clash with the impossibility for apparent pictures to provide any evidence nor “objective truth”. This is why his work allows for bias and misinterpretation. Whatever the context – a gallery, a page or the screen of a computer – his photographic images seems to have no unanimous foundation and every viewer is left alone to fill in the missing blanks.
Ventourakis completed an MA in Fine Art (Photography) with Merit at Central Saint Martins School of Arts (2013) and is the recipient of the Deutsche Bank Award in Photography (2013). He was selected for Future Map (2013), Catlin Guide (2014) and Fresh Faced Wild Eyed (2014) in the Photographers Gallery as one of the top graduating artists in the UK. In 2015 he was a visiting artist at CalArts with a FULBRIGHT Artist Fellowship and was a fellow in New Museum’s IDEAS CITY. He was shortlisted for the MAC International and the Bar-Tur Award. Recently he has exhibited in FORMAT Festival, Derby; the NRW Forum, Düsseldorf and in the Mediterranean Biennale of Young Artists 18.
Revising History is a study on photography, the nature of the vernacular image, and its role in creating cultural allegories. The work intends to create a dialogue about the photograph as simulacrum- the moment versus the referent. To engage these layered truths, I replace the central figure in found vernacular photographs with an image of myself.
Vernacular images create cultural narratives that we tend to trust. The danger in this is we seem to have forgotten that the picture liberates the moment from reality, erases vantage, and is inevitably susceptible to a co-opted or underwritten fantasy. The American past is often glorified in our cultural memory and I propose that it is partially due to the photographic record made during that era. Images help us remember selectively, and the myths around the period perpetuate, in part, via collective vernacular contributions. Images that depict awkward moments and point to historical oversights about race, religion, and gender are of particular interest to me as they identify a conversation we are still in midst of in the twenty-first century.
The work documents a performance yet results in a series of photographs that appear as records of time, place, and circumstance, but that are photographic impersonations. I study the central character in order to understand and relate to the meaning of the captured photograph. I then replicate the emotion, manifesting it with my own body, and augment the moment. None of the images are self-portraits.
My studies of vernacular photography have also led me to conclude that we share nearly identical visual narratives. Documented moments are parallel if not nearly identical. I have further discovered that conventions of composition, lighting and expression are closely followed without much variation. If such visual conventions underpin vernacular photographs, then it is reasonable to infer that the end result is not particularly unique to the person or place represented within the image. The end result is merely a duplicate of all other similar image-types. An image has a construction
and a convention that is pre-determined. What is perceived as a special and unique moment, “captured” forever as a photograph, is actually just a representation– a simulacrum– of what we think that moment is supposed to look like. It is as if we are making these images to prove not only our existence but also to testify belonging, happiness and our accomplishments. However, these images prove our conformity more than our uniqueness.
The sartorial glamour present in pre and post war American photography is the perfect red herring. The captivating aesthetics lead us to believe that the era was one of civility when it fact it was a time of racial discrimination and inequality. I utilize the bewitching visuals from that era to draw my audience into a conversation about our complacencies. The visual seduction acts as a mask– covering up and glossing over a past that is more convenient to forget. The camera excels at assisting us in revising harsh truths and diverts our attention away from historic realities.
I acknowledge that I create images that are a product of my bias, but I conclude that no photograph has ever been made without a bias. A photograph is a subtraction. It plucks one moment away from its context and appropriates that moment to suit an intended narrative. This is a cultural problem because we rely on photographs to tell us the truth. My end result, therefore, is no different from any other photograph: it is an expression made using the lens of personal experience. By pulling these images out of context, I cause the viewer to draw conclusions about how individuals have chosen to document their lives and how memory is forever altered by something sold to us by the photograph. Photographs are used to help us remember, but our recollection changes over time based on what we think we see in the resulting image. My intervention in these found vernacular images is how I hope the series engages the audience in a conversation about the way we interpret the media, record personal memories, and establish a collective history.
Jennifer Greenburg is an Associate Professor of Photography at Indiana University Northwest and lives in Chicago, Illinois. She holds a BFA from The School of the Art Institute of Chicago and an MFA from The University of Chicago. She was an artist in residence at Light Work, Syracuse, in 2005 and is a recipient of two Illinois Arts Council Grants and two Community Arts Assistance Programs. Her work is part of the permanent collection of The Museum of Contemporary Photography, The Santa Barbara Museum of Art, Light Work, The Museum of Photographic Arts, and the National Gallery of Ontario. Solo and group shows of Greenburg’s work have been held worldwide. A full-length monograph, The Rockabillies, 2009, by Jennifer Greenburg was published by the Center for American Places.
The core of the project is a research into the interplay between the Russian and Asian cultures historically coexisting on the territories of the Russian Far East. The problem of identity for a Russian living in the Primorsky Krai is that the more one emphasizes one’s “Russian-ness”, the more one starts to resemble their Asian neighbor, for whom this Russian is often the first experience of a cultural “Other.”
The author identifies the pressure points in the exchanges between the two cultures as well as their mutual influence on one another in moments of encounter on border territories. The phenomenon of the “polite fish” – a situation of contradictions between two opposite poles, two sides of the same coin, highlighting the difference between an external show of politeness and the internalized wariness inherent to the Asian world.
Originally hailing from the picturesque region of Baikal, artist Elena Anosova (born in 1983) is currently based in Moscow and Irkutsk.
Anosova’s work is centered around lives of women in closed institutions. The impulse of research of such communities arose in a reflection of her teenage period
spent at the closed rehabilitation boarding school. She would like to takes a closer look at the dynamic interplay of processes of isolation and surveillance, at unique qualities of emotional and social relationships within restrictions of artificially insulated societies.
Also Elena Anosova works with subjects of borders, identity and collective memory in the territory of Siberia and Russian Far East.
I spent six years living in Los Angeles where I drove a taxi. These are photographs made during that time. Many of these images have been made behind the wheel, others while on foot or at home. As a group they represent my view of the city: one that is gritty, caustic, lit by the blinding sun and the incandescent lights of evening. I intend to reference film noir aesthetics, but these photographs are not fiction, rather they are visions from an everyday working life. In Los Angeles I saw neither beauty nor glamour but rather an endless sprawl of concrete and an unending battle with nature. Life there seemed lonely, desperate, a struggle, I was in purgatory behind a wheel.
Postscript, a meditation on Los Angeles and the practice of making art:
A man has a dream, he spends his capital to build it, and people don’t understand it. So he converts it to a sideshow and people love it, they name a street after him. A man sits in a car on that street, he has a dream but needs capital. Staring through the moisture he wonders at what point a man has to convert his dream to a sideshow.
Erik Hagen is an American artist originally from Florida. His work has appeared in numerous group shows, both in the United States and internationally, and he was a selected participant in Review Santa Fe. Most recently he has been recognized for his work about Los Angeles, based largely on his experience of driving a taxi there. He is currently an MFA candidate at the University of Hartford and lives in New York, NY.
The calmness of the business district after a bustling day of commercial activities; fake palm trees amongst real ones in the neighbourhood; a tree in the neighbourhood that resembles a Christmas tree if you squint hard enough; and a “welcome” sign atop a building, inviting visitors to explore our island beyond the usual tourist attractions.
Growing up in the 1970s, I remember Singapore as a garden city with lush trees in the neighbourhoods and lining roads all over the island. Since then, I have observed a country that is rapidly changing with constant construction for a growing urban population, resulting in gradually decreasing green spaces.
This is my personal mission to capture, through photographs, the Singapore that I remember from my childhood – a Singapore that to me is not perfect, but is my home. This is version of the Garden City.
Deanna Ng is an independent photographer and educator.
In 2006, Deanna was selected as an International Participant for the Missouri Photo Workshop. The experience taught her the importance of the photograph as a document of history. She was also one of the short-listed artists for the prestigious Icon de Martell Cordon Bleu Photographer of the Year Award in 2010. Deanna was selected as one of Asian’s emerging talents and profiled on Nikon’s “Through Asian Eyes” in 2011.
Her work includes Life Before Death, a commission by the Lien Foundation which resulted in a solo exhibition at the Month of Photography (Asia) 2009. She has also worked with German Development Agency, Deutsche Gesellschaft für Technische Zusammenarbeit (GTZ), to document 20 Women in Micro-financing in Indonesia. Her pictures have been published in a book, titled Leaders, Lenders & Breadearners.
In 2015, she is selected as one of the 60 Singapore contemporary artists in the book “Singapore Eye – Contemporary Singapore Art”. She has completed her first public commission for LTA’s Arts In Transit programme on the the Thomson Line. The station will be ready in 2021.
As a passionate photography educator, Deanna completed Specialist Diploma in Arts Education with National Institute of Education in 2015. She has been teaching in schools and communities since 2005. In 2016, she took the Social Service Institute’s course “Working and Facilitating the Learning of Children with Special Needs in Arts” and started working with students with special needs in a mainstream school. The experience has been rewarding and she hopes to be able to reach out to more students.
A few years ago, a friend and I were talking about the GenderQueer movement and I wanted to explore it further on my own. I never felt like my gender identity fell neatly into one group or another, so I was curious what this discussion was grappling with. I had shot 3 portraits when I was assigned to shoot Sasha Fleischman for an editorial piece.
In the fall of 2013, Sasha was set on fire on a public bus because they (Sasha doesn’t use s/he as identifiers) wore a skirt with a men’s shirt. Sasha identifies as agender, others in the series as non-binary, gender non-conforming, etc.
After this terrible event, more people were willing to be photographed and take a stand about the basic human rights that should be extended to any person regardless of gender identification.
This evolving culture consists of those living outside or in between the gender binary, refusing to define themselves as strictly male or female.
This series was shot in a meaningful place for each subject, most often the home to give the viewer a sense of who each subject is and how they live. It is an exploration of what this movement looks like and what it means for each person involved.
This series employs a variety of photographic styles, from portrait to reportage, in order to best capture the spirit of the subject. It is not about imposing a photographic style on the each person but rather letting who they are inform the image as it is created.
With a strong focus on narrative photography & an mfa from usc in film production. Chloe specializes in still and motion storytelling. she sees each photograph as a one-frame movie still & each person as someone with a story to tell.
Critical mass 2016, lens culture portrait awards, american photo, pdn 30, the color awards, international photography awards, fuji student photographer of the year, boston international film festival & more.
For generations, Kazakh fishers have set out on to the frozen Ishim River in the hope of catching fish beneath the ice. The Ishim flows through the country’s capital, Astana, a high-rise, futuristic city that was built essentially from scratch in the 1990s, when Kazakhstan started to benefit from the exploitation of its oil reserves. It’s supposed to be an emblem of post-Soviet modernity, a hallmark of the country’s nationhood. Many of these fishermen venture on to the ice,
braving temperatures that often reach -40 degrees (north-central Kazakhstan is the second- coldest populated region in the world, after Ulaanbaatar, Mongolia). While they fish, they protect themselves from the harsh weather with salvaged pieces of plastic, patched together from discarded packaging or rice bags that you can find outside markets selling western, Chinese and Russian goods. I was interested in examining the aesthetic forms of these improvised
protective coverings and the way in which they functioned as inadvertent sculptures. I chose to focus on the materials and their surfaces as signifiers of underlying global influence and the improvisation that occurs from economic necessity. Kazakhstan was once a nomadic country, and vestiges of that way of life still exist despite the country’s embracement of modernity. These ice fishers improvise and adapt to their environment in ingenious ways, just as their forebears did.
Aleksey Kondratyev (b.1993 in Bishkek, Kyrgyzstan) works between Detroit and Central Asia. He recently completed a fellowship at Fabrica. He is the director and co-founder of Stand Quarterly.
Propaganda is a tactic that has been employed by people and entities of power since 515 BC when Darius I ascended the Persian throne. The objective has always been to help promote a certain cause or to gain power.
I became interested in the visual representation of propaganda when I began collecting vernacular photographs from China’s Cultural Revolution period. For ten years (1966-1976), the political agenda of China’s one party government, lead by its then charismatic helmsman, Mao Zedong, seeped into almost every aspect of the lives of ordinary Chinese citizens. So successful was the government’s endeavor that it created an impact on the visual collective consciousness of the time. When opportunities came for picture taking, a relatively rare luxury at the time, most people deliberately chose to include visual symbols of the prevailing propaganda.
I decided to use Photoshop to block out any text, symbols or figureheads associated with the political messaging of the time. Red is a color used by the Communist government even to this day, signifying revolution. I hope by revisualizing photographs in this way, viewers can gain a sense of the impact propaganda can have on a society during a mere 10 years of Chinese history.
Sheila Zhao is a photographer based in China. She’s interested in exploring the medium of photography and its different potential to tell stories. Her work has appeared in a variety of online and print media, including Raw View Magazine, the Washington Post, GUP Magazine, Burn Magazine, and Sotheby’s Magazine.
Senji Nakajima, 61 years old, has lived with ‘Saori’ for six years in his apartment in Tokyo, Japan.
They hang out, go shopping, sleep in the same bed. The only one thing different from any other couple is the fact that Saori is actually a life-size ‘love doll’. Nakajima, married with two children, who lives away from home for work, first started his life with Saori six years ago. At first, he used to imagine that the doll was his first girl friend, and used it only for sexual purposes to fill the loneliness, but months later, he started to believe that Saori actually has an original personality, like the sculptor Pygmalion who fell in love with the ivory- made Aphrodite, in Ovidius’s ‘Metamorphoses’ story.
‘She never betrays me, and isn’t only after money. I’m tired of modern rational humans. They are heartless,’
‘for me, she is more than a doll, not just silicon rubber. She needs much help, but still is my perfect partner who shares precious moments with me and enriches my life.’
There is a contradiction in his behavior. He denies the rationality, but at the same time he want to stay rational. Treating someone like an object and treating something like a human are the opposite sides of same coin, and it seems to be a characteristic of the modern human.
Besides, the love doll took some part of Nakajima’s human relations, communication and emotion, instead of a real human. It’s as if the human functions are partially replaced/extended by the human-like device.
In the history of mankind, the definition of human-nature has always been keep over written by tools and technologies. For instance, car made human to move faster, and phone increased enabled instantaneous long distance communication.
Now a days, AI and humanoids started to affect to the core part of human-nature, such as emotion and heart, that are believed to be universal and unreplaceable. For me, the emergence of the super real love doll is the symbol of human identity crisis that will be caused by the science technology in near future.
(for Getty Images)
Taro Karibe (b.1988) is a Japanese photographer based in Tokyo, Japan.
After he received a Bachelor of Psychology at Nanzan University (Nagoya, Japan) in 2012, he started working for a commercial bank as a corporate sales manager and a system developer.
In 2015, he started a career as a freelance Photographer.
His main concern is to document the issues of modern human identity and the sense of well-being, from a psychological/philosophical perspective.
In the past, he has covered Pigmalionism, suicide issues, robot industry, aging society issues, Kumamoto earth quake, Youth of Russia, Tokyo’s Halloween, The Shikoku Pilgrimage and so on.
His works have been published internationally in publication such as The New York Times, International New York Times, British Journal of Photography, The Wall Street Journal, Washington Post, Bloomberg, Chicago Tribune, The guardian, PDN, New York Post and so on.
He is the winner of PDN Photo Annual in 2017 and Critical Mass Top 50 in 2016, and his works are permanently collected by the Municipal museum of Fine Arts in Nizhny Tagil, Russia.
She was born in Tokyo in 1955. She went to the States as a high school exchange student in 1974. After 20 years of staying there, she came back to Japan with her daughter in 1995, and she has been working for the US military bases since then. In June of 2013, she encountered a photo that moved her so much that she decided to pick up a camera and started to actively capture sceneries and people based Yokosuka central.
While risking the burden of hefty associations, I cannot help but begin to talk about Erin Nøir’s fourth self-published photobook with one delightful coincidence: its release this year dovetails with the 100th anniversary of Duchamp’s Fountain. Other than sharing the iconography and building on the semiology of the toilet, they both foreground the sculptural in its various, neglected, and stigmatic permutations, the “gently flowing curves” and “polished erotic forms” reminiscent of classic Renaissance and Brâncuși (Calvin Tomkins). Her project, however, is no commentary on art and its artifice, nor does it really seek to isolate these objects to merely be regarded aesthetically. In fact, while Erin Nøir’s photography and the instances we find these discarded toilets make apparent their odd and discomfiting beauty, their extrication from the usual context of the lived and private domestic space is by no means an attempt to decontextualize and reappropriate. These haunting compositions cast their subjects in situ—they are there because they have been put or left there, out in the open, fragmented, upside-down, and seemingly thrown out of orbit, juxtaposed mostly with rubble and vegetation. These unsettling images are lyrical documents that make an unusual and almost embarrassing invitation to regard the toilet with a of sense loss, and perhaps nostalgia, rendering these objects not only as vernacular detail or heterotopic markers but also points in the locus of an aftermath. Poised as records of “material detritus of previous inhabitations and economies” (Lisa Robertson), the photo series makes us see its subjects either as fossil or artifact. Upon sensing the violent and visceral when confronted with these images, we realize that, albeit massed-produced in factories, typically deemed unsanitary, and now useless, these obsolete and disposed ephemera are remnants of a life—intimate objects with attendant histories. In documenting these tangible remains of previous lives, too familiar and yet still peculiar, Erin Nøir manages to invoke photographs as dioramas of miniature ecologies. [Christian Tablazon]
Born and raised in Manila, Erin Nøir completed two pre-medical degrees in Science before discovering her true love in the Arts through images and words. Formerly the editor-in-chief of Lomography’s international magazine and, recently, the studio manager of Thousandfold, Erin now works full-time as the founding -in-chief of Frame Zero and partly as the managing consultant & curator of Vetro, as she unceasingly progresses her own style and voice in black & white photography.
Erin has created a diverse body of work encompassing various subjects with a diaristic approach — evoking an intimate, mysterious disposition that is distinctly hers. Her works have been exhibited and featured in the Philippines, Japan, Singapore, Cambodia, Italy, and Malaysia. She was also selected in the following: Invisible Photographer Asia (mentorship program), Angkor Photo Festival (professional workshops), Kyotographie (masterclass), and PHotoESPAÑA (portfolio reviews).
She also runs Parallel Planets, a nonprofit creative online platform, and MONO, an independent publishing house.