wall space gallery | the flat file

October 31, 2010

Carol Pfeffer

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Carol Pfeffer

Untitled Light Gesture #1

Untitled Light Gesture #1

Untitled Light Gesture #4

Untitled Light Gesture #4

Untitled Light Gesture #5

Untitled Light Gesture #5

Artist Statement:

At a time when the digital camera is replacing consumer snapshots, fine art photography and commercial applications Carol’s unconventional use of this traditional medium comes at a sentimental time in the history of photography. Her formal background in physics, the science of light and geometric optics inform the chromogenic transfers with a prevalent scientific quality.

The work always carries her signature watermark of bold diverting abstraction reflecting her commitment to resolve complex issues without figurative references. A gestural style executed with disciplined spontaneity produces unavoidable prints.

The substantive content of the work reflects a maturity that comes from introspection and personal confrontation with complexity. Projects can range anywhere from interpretations of celestial landscape and microbiology to more psychological interpretations of the subconscious and the imagination.
She received her BA in Physics and Philosophy from Boston University, JD from Western New England College of School of Law, and Associate Degree Certificate in Visual Arts from Westchester Community College.

Carol has been practicing law for twenty five years. She served as Assistant District Attorney in Queens County with The Special Victims Bureau and Supreme Court Trial Bureau, Administrative Law Judge with the New York City Department of Finance Parking Violations Bureau, Staff Attorney with the Legal Center of My Sister’s Place, Inc. representing indigent victims of domestic violence and is currently in private practice in New York.

Carol also serves on the Adjunct Faculty at Purchase College State University of New York School of Liberal Studies and Continuing Education.

Low Tech will be showing at the Center for Fine Art Photography through the month of October.

October 30, 2010

Alison Overton

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Alison Overton

Portal to Light 2

Portal to Light 2

Artist Statement:

Making art, in particular photographs that chronicle a moment in a changing landscape, is my passion. As a lifelong artist, I strive constantly to explore and expand my definition of the unique and mysterious in life and nature. I love to utilize simple, manual film cameras such as the Holga and the Widelux to capture images that have an ethereal and timeless quality. My hope is, that when a person views my art work, he or she might feel as if they could trade places with Alice of “Alice Through the Looking Glass” – peering into a dreamy world, with a sense of awe and child-like wonder.

One of the recurring themes in my work is the architectural landscape with a sense of history. My intent in making these photographs is to visually convey the feeling of walking alone among majestic sites, both secular and sacred: abbeys, castles, churches, cemeteries, formal and informal gardens. By combining overlapping exposures, careful cropping and overpainting with transparent oil paints, the finished works reveal my idea of these places as they might appear in a daydream or on another plane of existence, and as if our rules of time, space and perspective did not apply.

Low Tech will be showing at the Center for Fine Art Photography through the month of October.

October 29, 2010

Kathleen Nathan

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Desert Bird Las Vegas, 2001-2

Desert Bird Las Vegas, 2001-2

Artist Statement:

Some of my earliest childhood memories are associated with flowers; small pots of African violets lining a sunny window sill in my Grandmother’s kitchen, tight green round buds that burst into huge puffs of pink peonies, yellow forsythia forced to bloom inside as a March blizzard roared outside, the sweet smell of violets carpeting the woods in spring, Queen Anne’s Lace waving along the roadside in late summer, clusters of sweet peas tumbling over a forgotten fence.

The images in this series are some of the results of my photographic investigations into the botanical realm. These photograms are made directly from plants and insects, found in the garden. In the darkroom, I arrange my gatherings on a glass negative holder place it in the enlarger and make an exposure onto photographic paper. Each time I project an arrangement of petals, stalks, stems or wings, I am marveled by the reversed and revealing results. Simple yet complex these images make visible what is invisible to the human eye; presenting beauty chaos and order of nature.

Low Tech will be showing at the Center for Fine Art Photography through the month of October.

October 28, 2010

Daniel McFadden

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Daniel McFadden

Circus

Circus

Artist Statement:

As a young boy I had a dream of running away and joining the Circus. That dream faded away. . .

I wanted to create a photo that was reminiscent of my childhood dream that had been lost so many years ago. I needed to keep the process simple and easy, so I decided to use my iPhone to create the photograph. I found that the lens was not wide enough to capture the image that I had in mind. I turned to the Auto Stitch program and with three photos; I was able to create the photograph I had been dreaming of. Next, I used the TiltShift Generator to give it a dreamy quality by defocusing most of the image. For the final touch, I added a frame around the photograph using Photoshop Mobile, giving it a feeling of an old Polaroid photo from the past.

The photograph is a Lambda C-print on Kodak Endura paper for archival purposes. The photo will be here long after the dream is gone.

Low Tech will be showing at the Center for Fine Art Photography through the month of October.

October 27, 2010

Michael McCullough

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Michael McCullough

Guardian of the Grave 26

Guardian of the Grave 26

Guardian of the Grave 6

Guardian of the Grave 6

Artist Statement:

Photographing these particular images began after visiting a local cemetery. I was taken aback by the weathered faces of some of the early statuary and the emotions that were coaxed from the stone by the stonemasons. Emotions that have intensified with the seasons, sorrow, resoluteness, prayerfulness, thoughtfulness, were evident to me. I determined that these images, the Guardians of the Graves, would best be portrayed by printing them as gold-toned salt prints.

For me photography is an emotional pursuit. As I look around I feel a connection to an object before taking a picture. The strength of this connection determines my direction. Attempting to keep an open mind and being prepared for the surprises that invariably arise, I strive to be faithful to that which I have become connected. Photographing primarily with medium or large format cameras I like shooting film and the processes involved.

Salted paper prints are created through contact of a negative and a properly sensitized paper of sodium chloride and silver nitrate and exposure to UV light. After exposure, gold-toning, fixing, washing, and drying the images are ready for framing. This is the oldest silver paper process and one which, I believe, best captures the essence of the Guardians of the Graves.

Low Tech will be showing at the Center for Fine Art Photography through the month of October.

October 26, 2010

Casimir Lipok

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Morning Call

Morning Call

Madison at Sunset

Madison at Sunset

Fire Renews Life

Fire Renews Life

Casual Observer

Casual Observer

Artist Statement:

In understanding where I wanted to go with my photography, I felt it best to understand how photography evolved with the argument throughout the ages, “Is photography art.” I chose Gum bichromate printing because of the uniqueness of the printing process. Originally developed around 1880 it stayed popular until the 1920s.

Each print is handmade from sizing the paper to the finished print, the prints took approximately 26 hours to complete. Gum printing, as it is referred to, is an intuitive process yet unforgiving if errors in judgment are made. The colors need to be applied in a certain order as each subsequent layer affects the previous ones. Each print is original and no two are alike. This process is truly a labor of love. These 4 prints are part of a series of 11.

Robert Demachy was one person who brought Gum bichromate printing to the forefront in his time. His work was a part of my inspiration for these prints and allowed me to express myself in my work as I have not done previously. I wanted to challenge myself and my technical abilities to see if I had what it took to create photographic art like those before me did around the turn of the century. As my photography professor Rudi Dietrich told me, “you put so much time into making these prints they become like one of your children.” I understand that now.

Low Tech will be showing at the Center for Fine Art Photography through the month of October.

October 25, 2010

Peter Lindstrom

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McKinley Park #1

McKinley Park #1

Camden Street #3

Camden Street #3

Camden Street #4

Camden Street #4

Artist Statement:

I photograph scenes from nature in the early morning or evening hours to take advantage of the soft light. Weather conditions are an important element in my work. From the ferocity of a blizzard, to a blanket of morning fog, the atmospheric conditions set the mood for the image and help to determine what printing process I will use. I use alternative and historic processes to print my photographs. The three images I have on display in “Low Tech” ( Mickinley Park / image #1, and Camden Street / images #3 and #4), have been created by a mutiple layer printing process referred to as Gum Bichromate over Ziatype. The first or primary printing is done with a Ziatype solution. This is a Palladium based process that creates a rich detailed, charcoal to sepia toned print. Onto this image, I will add anywhere from one to four additional printed layers using the Gum Bichromate process. This process deploys water color pigments to create imagery, rather than semi precious metals such as Paladium. I apply the Gum Bichromate in finely veiled layers, adding a translucent breath of color to selected areas of my image. Using it in this manner creates a lush sense of coolness, warmth and humidity, while accentuating details, shadows and texture.

Low Tech will be showing at the Center for Fine Art Photography through the month of October.

October 23, 2010

Niniane Kelley

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Niniane Kelley

Pear

Pear

Snapdragon

Snapdragon

Stargazer Lily

Stargazer Lily

Artist Statement:

Parallel brings together the human figure and natural forms in a search for similitude, connection, reflection in both shapes of the forms, and the emotional expression they convey. The imagery and pairing of the forms is an investigation into the eternal, looking for the universality of human condition and its connection with the natural world.

The images for this series are shot on medium format black and white film and developed in pyro. The negatives are scanned and digitally printed to produce the enlarged negative required to make a contact print. The prints are made on Arches Platine paper, sized with gelatin. The Gum Bichromate emulsion consists of potassium dichromate, gum arabic, and watercolor pigment. When exposed to UV light, the dichromate will harden the gum in proportion to the amount of light received, rendering it insoluble. The exposed print is then developed in a bath of plain water, during which time the areas of the print that have not hardened will release the pigment from the emulsion. The finished print consists of three separate exposures printed in registration; each layer must be fully processed and dried before subsequent layers can be applied.

Low Tech will be showing at the Center for Fine Art Photography through the month of October.

October 22, 2010

Walt Jones

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Walt Jones

Swing

Swing

Arch

Arch

Break

Break

Artist Statement:

The series “Liquefy” strives to capture the energy and beauty of the human body as portrayed through molten wax in unique digital encaustic pigment prints.

A former designer of lighting for modern dance and ballet, I want to translate the intrinsic beauty I’ve so often seen within the body of a moving dancer into a more abstract medium. Through experimentation, I found that when controlled effectively, molten wax can have many of the same visual qualities as the movement of the dancers that I’ve spent so much time sculpting with light. The forms created with the liquefied materials take on the motion of the dancers themselves, creating the illusion of movement within still life.

Through the process of injecting dyes into liquefied paraffin with various instruments, I discovered that I can gain control over the medium and coerce it, much as a painter moves pigment on a canvas, into recognizable human forms while maintaining so much of the stochastic qualities that initially led me to experiment with it in the first place.

To find the moment when serendipity aligns strings of color in just the right way, hundreds of exposures are made in the few minutes before the wax cools to a semi-opaque solid. Every image in this series represents just one of many attempts to bring each form to life.

Original photographs are available for individual purchase and can also be displayed together as an exhibition. Each image is available as a unique pigmented ink and paraffin print on bamboo paper. A modern nod to the ancient art of the encaustic, the subject comes full circle – quite literally wax images of wax. Please inquire for pricing.

Low Tech will be showing at the Center for Fine Art Photography through the month of October.

October 21, 2010

Grant Hamilton

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Grant Hamilton

Poolside

Poolside

North Shore

North Shore

A Square in There

A Square in There

Artist Statement:

“I prefer the term extract over abstract, since I cannot change the optical realities, but only manage them in relation to themselves and the format.”
Ansel Adams from “Examples-The Making of 40 Photographs”

Through my photos, I strive to find beauty in the mundane. It is hard to describe to passers-by why I am photographing the side of a bus or standing on a ladder on the side of a road, trying to reach a sign. Most of the time people will see the beauty that I am seeing and will smile. Often they will remark that they never noticed that before.

I never use a tripod. Instead, I use body positioning and breathing techniques to ensure a sharp, properly aligned image. Sometimes this requires several minutes of preparation for just one exposure. I am looking for decisive focus. When composing an image, I try to include only what is necessary and edit out everything else.

I use Polaroid integral film for several reasons. Besides being a singular image, each is a unique object and the mechanical process of spreading the chemicals over the exposed image imparts a painterly quality that can’t be simulated. Also, since each photo is self-contained, I can only control composition and exposure in the camera.

I was born in 1969. At the University of Illinois I earned a Bachelor’s Degree of Fine Arts in Industrial Design. Afterwards, I worked as an Industrial Designer in Chicago but now focus my creative energies on photography.

Low Tech will be showing at the Center for Fine Art Photography through the month of October.

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