Archives for posts with tag: abstract
FinnSloughAncientMemories20180110-DSCF1158

Finn Slough: Ancient Memories

Art About Finn Slough Show, sponsored by the Finn Slough Heritage and Wetland Society, includes work by Sassamatt Collective artists Phyllis Schwartz and Edward Peck. This unjuried show features work inspired by late Fall visits to Finn Slough, a small historic fishing village at the junction of Number 4 Road and Dyke Road in Richmond, one of the last tidal communities of the West Coast.

The Lumen Print series by Phyllis Schwartz was made from plant materials gathered at Finn Slough, a tiny fishing community in Richmond, British Columbia, Canada where approximately 30 residents live in wooden houses along a marshy riverbank. The indigenous and cultivated plant materials used to make the photograms reference a community that is inextricably connected to the environment and persistently adaptable to the encroaching built environment that challenges its existence. Of particular interest are the ginkgo leaves and horsetail ferns, both ancient plants that have adapted to environmental transformations or thousands of years.

Tidal Zone is a series by Edward Peck made from persistent observations of Finn Slough as Fall transforms the landscape from colour to the spare elements of winter. His series captures the marsh habitat on the Fraser River that has been lost to human settlement and industrial development. This struggle is reflected by the contrast of a dynamic landscape in full colour and the austerity of black and white structures endure the elements.

AAFSS is held at the Richmond Cultural Centre located at 7700 Minoru Gate, Multipurpose Room. The show is open on Thursday, April 9 from noon to 9:00pm, Friday, April 10th from 9:00am to 9:00pm, with an evening reception and guests speakers, Saturday, April 11th from 10:00am to 5:00pm and its ends on Sunday at 3:00pm.

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Finn Slough Landscape

 

Gilbert, Arizona — 06 March – 21 April

LightSensitive 2018, an exhibition of traditional darkroom and alternative process photography, opens at Art Intersection on Saturday, 10 March (5 – 7pm). The selected works, according to juror scott b. davis, “…range from abstract images that defy our expectations of photography to others that affirm our belief in the medium’s inherent specificity.”

Two Lumen Prints from my Finn Slough Series will be on show in an exhibition of handcrafted prints by photographers working in the tradition of light sensitive creative processes. The organic nature of these prints made using materials gathered at Finn Slough reflect the quality of life in a tiny fishing community in Richmond, British Columbia, Canada where 30 residents live in wooden houses along a marshy riverbank. The indigenous and cultivated plant materials used to make the photograms reference a community that is inextricably connected to the environment and persistently adaptable to the encroaching built environment that challenges its existence.

These Lumen Print photograms are made by placing plant materials on black-and-white photo paper, which were exposed to both sunlight and the elements for 48 hours during a December snowstorm and then processed in fixer. The atmospheric conditions affecting these prints were especially unusual, resulting in distress to the light sensitive emulsion, which can be seen in the unique marks on the photosensitive surface.

Light Sensitive will show at Art Intersection, a gallery and workspace in Gilbert, Arizona, that promotes the intersection of photography with related art forms. The exhibition runs from 06 March thru 21 April (207 North Gilbert Road, Gilbert Arizona). Opening reception is Saturday, 10 March, 5 – 7 pm).

 

Two recent Lumen Prints have been selected for exhibition in Light Sensitive 2018, a signature exhibition of photography created using traditional darkroom and alternative photographic processes. Both of these prints were made using materials gathered at Finn Slough, a tiny fishing community in Richmond, British Columbia, Canada where approximately 30 residents live in wooden houses along a marshy riverbank. The indigenous and cultivated plant materials used to make the photograms reference a community that is inextricably connected to the environment and persistently adaptable to the encroaching built environment that challenges its existence.

These Lumen Print photograms are made by placing plant materials on black-and-white photo paper, which were exposed to both sunlight and the elements for 48 hours and then processed in fixer. The plant enzymes and atmospheric conditions interacted with the photo-emulsion to produce unexpected results on the surface of the paper, leaving X-ray like marks on both their shapes and interiors. The atmospheric conditions affecting these prints were especially unusual — work that was set out on a cold December night was visited by a slushy snowstorm that was followed by freezing weather that adhered the prints to the developing table for an additional day of soaking up diffused light. Carefully, these prints were thawed and released; the impact of this distress can be seen in the unique marks on the photosensitive surface.

Light Sensitive, juried by scott b. davis founder of the Medium Festival of Photography, will show at Art Intersection, a gallery and workspace in Gilbert, Arizona, that promotes the intersection of photography with related art forms. The exhibition runs from 06 Marth thru 21 April (207 North Gilbert Road, Gilbert Arizona). Open reception is Saturday, 10 March, 5 – 7 pm).

If prints could talk, Ocean Shores might tell the viewer that it is a trace and shadow of purple broom buds native to the craggy Pacific shore. Chamaecytisus purpureus, less prominent than the common yellow broom, is now considered an invasive plant consuming beachfront real estate.

It was the colour of this broom that first attracted me to collect a few sprigs for a series of Lumen Print impressions made on sheet film. What remained after a full day in the sun was a photogram that would be transformed into fixed images using sodium thiosulfate. Next, the sheet film was scanned and again transformed in a digital photography space where I constructed an image reminiscent of the plant material, the residual sand and the light falling on the shore at dusk.

Currently, Ocean Shores is among the 39 alternative process photographs on exhibition in unique: alternative processes at ASmith Gallery in Johnson City, Texas thru 14 January 2018. This exhibition affirms my interest in what constitutes a photograph and the experiments, historical and contemporary, which push the boundaries and yield unique results. When I agree to submit to an exhibition, I surrender, leaving curators and preparators to work their magic. In this space, the image is again transformed when set in a visual conversation among unique alternative process photographs selected by Christina Z. Anderson.

 

 

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Contemplating Water is a new gallery added to Sassamatt’s webpage. It features a series of photographs made on Chesterman Beach/Tofino, BC, focussing on water in its dynamic state.

Ever-moving water is ephemeral and transcendental. As it swirls, sputters, rises and falls, it returns to where it began. I look at water the way Alfred Steiglitz looks at clouds, contemplating how “to hold a moment, how to record something so completely, that all who see will relive an equivalent of what has been expressed.”

View Contemplating Water (here). 

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Artists by nature are not hard-wired to boost, promote, or sell their work. Buyers usually want to know more about the works that attract their attention and perhaps purchase. That more can be the backstory, the technique or inspiration, and it is often said that it is not the work that is sold but the story that is bought. For some artists, that conversation is difficult. In my own artist practice, all of this is the case. If I could bring that story to life in conversation, there would be no need for me to make a drawing, photograph, artist book or ceramic sculpture. I came to value (and now miss dearly) art school critiques because I learned how to speak more confidently about the backstory, techniques and inspiration in my artist practice. Having said that, this blog feels somewhat like shameless self-promotion, but it could also be a year end summary about where my work can be found, where this work can be purchased.

South Main Gallery (279 East 6th Avenue, Vancouver) now represents my work, particularly More Illuminations, featured in Vancouver’s Capture Photography Festival (2016).

Cityscapes Art Rentals (335 Lonsdale Avenue, North Vancouver) holds a small collection of my work for rent, rent-to-own, and purchase. A selection of my work will be in the 2017 Art Rental Show (opening 12 January through 04 February 2017).

The Brooklyn Art Library (28 Frost Street, Brooklyn, NY)/ Sketchbook Project now sells high quality prints of pages from nine of my sketchbooks in their collection. Sketchbook Collection

Gifting is an art form in its own right, and in this season of gift giving, a gift of art is a double gift because it gifts the artist as well. More about my photography continues at http://www.sassamatt.com

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Frozen

Frozen

I’ve been gifted this review of my current series: Salton Sea Eco-Disaster — I cannot look away.

 

The Salton Sea Eco-Disaster – I cannot look away
One of the most provocative and insightful bodies of artwork in the Telling Stories: a visual art exhibition is a series of photographs by Phyllis Schwartz. Although a great deal of her work is more abstract in nature and rooted in the historical techniques of photographic image making, this series is a departure for her. The images are very monochromatic and stark as well as being rivetingly close to their subject matter.

What has caused this departure, especially when the work has been simmering since the winter of 2011? Having witnessed the ecological destruction on the shores of the Salton Sea, California’s largest body of water, the images were just too graphic and unworldly. How does a visual artist work with a set of images that seem implausible, yet at the same time so captivating? What are the implications of creating a series around these images that wander between a work of art, a statement of witnessing and a political commentary on our economically driven ecological disasters?

Vacant

Vacant

In the end one cannot really look away, as Phyllis Schwartz expresses in her subtitle, without becoming even more complicit than one already is creating these images. To look away is to do what is so often done, to pretend we are not part of the problem. We are collectively the authors of this series; even in Vancouver, the food grown in this area that flows 15,000 tons of phosphorus and nitrogen into this landlocked sea is the food we shop for on our grocery shelves. The cars we drive that are made in Mexico in the maquiladoras just across the border, emit a toxic stew mixed with sewage, and this flows down hill across the border into the Salton Sea. This artificial river is now the most toxic waterway in North America, we should not be looking away.

Schwartz’s images are simple yet draw in the viewer; they are micro-compositions of areas no larger than a dessert plate. Abstract in presentation and mostly black and white with hints of colour, one can not help but think of Edward Weston’s work and the intimacy he expressed with the objects he photographed. Yet the images are not as subtitle, and unlike Weston, the images are much less rooted in the post modern culture that favours irony while making allusions to knowledge. It also seems to lash out at the pseudo-modern world of around us where iPhones and social media often gives the impression that one is immersed when often one is overtaken or swallowed up.

Desiccated

Desiccated

As the viewer moves from one image to another, one begins to feel that something is amiss. What is the magnitude of the dead barnacles beach? Why are the fish mostly unconsumed by the other wild life in the area? Why have they not been cleaned up by local inhabitants? Having chosen to work at such an intimate range, the work hints at the extent of the problem without graphically showing the masses of dead fish that actually litter the shoreline. The artist here is reflecting our tendency to minimize and reduce things down so we do not see the scale of the problem. One cannot look away, but one does not want to see the scale, a scale might prove too challenging. The softness and almost abstract forms allow one to at momentarily escape before the mind lurches back to what is being presented. It moves the viewer to search out the subtext and the footnotes of this ecological metaphor of our current age.

Edward Peck (15 November 2015)

Edward Peck

On the Wall Series, photographed in Germany in 2015, will be part of the Telling Stories:a visual art exhibition opening on the 7th of November 2015. The exhibition will include photography, painting, sculpture, fibre art and other installations. It will feature the following nine artists: Alison Keenan, Phyllis Schwartz, Jim Friesen, Daphne Harwood, Sophi Liang, Colette Lisoway, Edward Peck, Debra Sloan and June Yun.

This is the BestB4 Collective’s latest exhibition, and it is graciously hosted by the Chinese Cultural Centre in their On-Tak Cheung Exhibition Gallery.

Opening: Saturday, November 7, 2015

Location: 555 Columbia Street

Regular Hours: 11:am – 5pm (Tue-Sat), Nov 7th – Dec 19

For Special Hours and Events see BestB4Collective’s Blog

For more information please go to the BestB4 Collective’s events page:
http://bestb4collective.blogspot.ca/p/events.html )

A Brief Word About the Series

My artist practice has always been about teaching myself to see. While walking around Berlin and Hamburg, I noticed that…

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Winter Salon 2014 opens Thursday, 27th November ( 7 – 10:30 pm) at PhotoHaus Gallery (14 West 7th Avenue) with an exciting collection of work that includes three Lumen Prints that were recently exhibited at die Bedürfnisanstalt in Hamburg Germany in September.

MisSummer Spanish Bank Impressions is my current analogue Lumen Print Series. On a parched summer day, I gathered materials from what had been deposited on the beach at high tide. In my work, I am always curious to discover what emerges from the footprints and shadows of my compositions on photosensitive materials. This summer’s pareidolic gift offered images of caribou, bears and canine forms, including one that received Honourable Mention from the Cascadia exhibition jury.

My current series of Digital Lumen Prints, Illuminations and Impressions,  are made from materials gathered from the Ocean Shores (Washington) foreshore. These images are made from handmade negatives using a Lumen Printing process and then digitized. These new plant forms have made new forms that trace the footprint and capture the shadows on photosensitive materials. Their luminescence invite the viewer to imagine motion and drama in what remains.

This Autumn’s exhibition at die Bedürfnisanstalt featured a selection of New York analogue Lumen prints that were exhibited in Tree — literal and figurative (On-Tak Gallery, Vancouver Chinese Cultural Centre) and premiered MidSummer Spanish Banks Impressions. A selection of digital Lumen Prints were previously showcased at the Chinese Cultural Centre Museum as well as new works made at Ocean Shores, Washington.

Caribou Portrait, Ocean Shores Impressions 1, Serious Caribou

Caribou Portrait, Ocean Shores Impressions 1, Serious Caribou

Winter Salon 2014 continues through December. Check hours and address at PhotoHaus Gallery’s website. http://photohausgallery.com/upcoming/

Shelter Island             Illuminations 
Edward Peck        Phyllis Schwartz 

Die Bedürfnisanstalt, Bleickenallee 26a, Hamburg 22763

Vernissage: Sa: 13.09.2014 12-17 Uhr
Öffnungszeiten
So., 14.09.2014, 14 – 18 Uhr
Mo., 15.09.2014, 16 – 20 Uhr
Sa., 20.09.2014, 14 – 18 Uhr
So., 21.09.2014, 14 – 18 Uhr
Lumen Print Workshop/Vorführung [auf Englisch]
Di., 23.09.2014, 14 – 18 Uhr
Neue Fotoarbeiten
Mi., 24.09.2014, 18 – 23 Uhr
Do., 25.09.2014, 15 – 19 Uhr
Finissage: Fr., 26.09.2014, 16 – 20 Uhr

Sassamatt presents the European premier of new work by Phyllis Schwartz and Edward Peck. These Canadian experimental visual artists work in photographic medium. Schwartz is one of the few contemporary artists making artwork using the lumen print process. These hybrid prints are made by a contact and printing process photosensitive surfaces that are digitized. Peck with multi-disciplinary background is using a multiple exposure photographic hybrid digital development process to create abstract works from concrete objects.

Sassamatt, a Canadian based artist collective, presents work by Edward Peck and Phyllis Schwartz for exhibition in Bedürfnisanstalt between 13 and 26 September. These two photo-based artists use the details located in their immediate environment as inspiration for innovative image making. Their exhibition, Sassamatt Presents, is the European premier of their latest work. The exhibition will be held in Die Bedürfnisanstalt, a unique gallery exhibition space in Hamburg’s Altona community. They will also be open for visitors to watch their work in progress. There will also be a workshop demonstration of the lumen process and both artist will be available to discuss their work and artist processes.

Edward Peck is an experimental digital photographer with multi-disciplinary background that includes painting, watercolour and printmaking. Much of his current source material is drawn from weathered and sea battered boats, some of which are in the process of returning to their elemental state, bringing the aging process of these boats to life by through an abstract exploration of form, colour and texture. His bold compositions are colour fields confidently sectored by elementary materials that are caught in the act of transformation. These transformations become abstract landscapes.

Phyllis Schwartz is an experimental photographer. Her x-ray like images penetrate the surface of her subject material and produce secondary images discovered only in the development stage of her printmaking. Plant enzymes and atmospheric conditions also interact with the surface to produce unexpected results on the surface of the paper or sheet film, leaving x-ray like marks of both their shapes and interiors. These illuminations of New York foliage and British Columbia  marine plant life hover on the cusp of abstract imagery and poetry.

Addition information on these two artists can be found on the Sassamatt Images website www.sassamatt.com .

It’s art residency season. Working in classrooms adds another layer to my artist practice: ideas spark when I share my ideas, techniques and suggestions. Curious minds ask provocative questions. Busy hands show me how my own practice transforms in a shared creative process. Ideas go places I never would have imagined. Exhibition and celebration brings new ideas to move forward.There’s always much to show for these joyful moments in the classroom, and I long for studio time so I can go forward with new ideas and new work. 

Recently, I presented a  lumen prints workshop  at the ArtStarts Gallery  in celebration of BC Arts and Culture Week in conjunction with Botanimalogy—Expressions of Nature, an exhibition of lumen prints made during my residency at Kitsilano Secondary School. This exhibition of both analogue and digital lumen prints is on show through August at the ArtStarts Gallery at 808 Richards Street, open Tuesday through Saturday.
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