A juried international photography exhibition
May 1-22, 2014
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Photographic images are created by recording the light reflected from the surfaces of things and living beings. From the surface, however, we learn about the depths of the inner secrets. It is the revelation of what is hidden inside that makes photographs the powerful means of communicating thoughts and feelings. Photographs exploring the hidden create unique meanings enhancing our understanding and appreciation of what lies beneath.
Exhibiting photographers: Ellie Davies (London, UK), Johan Entchev (Helsinki, Finland), Caitlin Fares (Berkeley, CA, USA), Mark Haskins (Apple Valley, MN, USA), Diane Kaye (Aptos, CA, USA), Linda N. LaRose (Bucks County, PA, USA), Lodiza LePore (Bennington, VT, USA), Jonathan Macagba (Siran, France), Nancy Oliveri (Brooklyn, NY, USA), Nisorn Thuampoomngam (Bangkok, Thailand), Yoong Wah Alex Wong (Istanbul, Turkey), Georg Worecki (Kaarst, Germany), Mara Zaslove (Santa Monica, CA, USA), Miao Zhao (New York, NY, USA)
Please click on the names to see contact information (website or e-mail) where available.
High quality (ProLine Pearl Photo paper) exhibition catalogue is published with Blurb Books. (Please note that for some reason Blurb's preview is low resolution. It is suitable for studying the design and layout of the catalogue, but it does not always present the photographs faithfully. The print catalogue, however, is professional high quality.)
The theme of the exhibition, Inside out, allowed for diverse interpretations. Even though the photographic responses were diverse indeed, yet we can still experience a unified body of work when looking at the images. The sensitivity towards the hidden, and the forceful call for careful interpretation on behalf of the viewer are among the most evident aspects of these photographs.
Juror’s choice Miao Zhao’s Inside Fragrant addresses our quest for understanding what is beneath the surface on several levels, relying on both conceptual and pictorial means. Zhao’s photography is a documentary to the socially minded, letting us imagine lives we have never experienced; however, it also is a geometrical exploration of the inner warmth beneath the cold interior. Taking the risk of framing an unbalanced, slightly Malevichian and, for the most part, seemingly uneventful scene, the image invites us to take a close look at both the “empty” and the “busy” parts of the photograph. Of course, the seemingly uneventful is not really empty; the cracks of the wall, the rich shades of blue, the pavement and the dark benchy object are combined into a powerful composition, capturing our eyes while pushing our sight towards the heavily framed window. From the cold of the almost monochrome blue we peep into the Dutch 17th century. Almost, that is. We can almost feel the yellow warmth of the fire, we can almost smell the fragrance of the meal being prepared, and we almost recognize a keg in the background. But before we get lost in time travel, the all too modern faucet suddenly disturbs our longing for a lost time, and we are soberly brought back to the 21st century. Our visual tour is over, the powerful photograph, however, invites us for a second and a third ride.
The honourable mentions elaborate the theme in different but equally successful ways. Ellie Davies’ Silent, Dark and Deep No 11 is part of a series that provides us with an enhanced perspective we cannot perceive with naked eyes. Over the fence, the narrow stripe of detailed forest life is there for our viewing, giving us a glimpse at the substance of the darkness beneath. Natural and artificial rhythmic order and disorder combine into a unified experience, and it is up to our imagination now to continue the patterns. Johan Entchev’s Untitled from the series “Last Days” draws the eye to the eye wide open in the centre of the image. We cannot but be taken aback and search for the hidden causes that make the half face we can see into such an expressive cry. Our attention expands to the plains of the front and back, finding dark dreamy shapes, just to return to the face, to the secret of the eye wide open to the outside. Mara Zaslove’s Which Way Out? makes a gesture of combining the verbal and the pictorial. The two are separated visually, the pictorial being monochrome, while the verbal is exit-red. As we would find our way out, we are trapped in a maze of geometry, around and around inside.
Numerous other outstanding photographs make up the body of the exhibition. Caitlin Fares’ experimental work elaborates on the nature of the photographic process, embracing the stunning effect of the unexpected. Lodiza LePore’s three images question the connection between the photographic real and the inner dreamlike surreal. Jonathan Macagba contemplates inside out with coloured surfaces and geometric qualities. Yoong Wah Alex Wong pushes our perception to its limits as we look at the mystic reality of his photograph. Georg Worecki’s directorial works stage people in unpredictable situations with unpredictable objects, resulting in unpredictable scenes and visual experiences.
I hope our viewers will as much enjoy the journey inside out as I did. Interpreting, understanding, and appreciating photographs take time. I encourage you to take your quality time with these outstanding works.