fine art photography

Fine Art Photography PROJECTS

FINE ART PHOTOGRAPHY PROJECT 1

Requiem for the Awakening

Diana Marin’s photographic project, Requiem for the Awakening, is a postmodern audio-visual trip, visual poetry constructed primarily from still photographs, moving image, and piercing, post-modernist monologue. Her activity included single-handedly editing, photographing, filming, as well as recording sound and voice-over to crystallise a concept that was inspired by her own dream experience. Read more:

https://uncannyarchive.com/diana-marin-requiem-for-the-awakening/

FINE ART PHOTOGRAPHY PROJECT 2

Uncanny

Diana Marin’s photographic poem, “Uncanny” revolves around the uncanny connection between two women and the ambiguous intersection of separate timelines. As the visual narrative unfolds, the connection between the two enigmatic characters grows to be stronger and more intimate. The enticing imagery is accompanied by a haunting, atmospheric, emotional piano melody and a monologue filled with lyricism. The natural landscape is infused with echoes from the past, whilst the two characters can be found gracefully running through idyllic fields, like diaphanous nymphs. Read more:

Diana Marin – Uncanny

For more photography projects, check out my online photography portfolio via Tumblr:

TUMBLR

“unwavering- your core,
honey-mouthed- your discourse,
your silence […]”

Read my Selected Poems here: dianamarin.com/poetry

Review: John Santerineross – neo-symbolist photographer


John Santerineross, considered a neo-symbolist photographer, creates dark, sinister, erotic imagery whilst focusing on conveying moods and evoking states of mind, an approach favoured by the symbolists in art in general. Neosymbolism explores mystical, emotional, spiritual, as well as sensual themes, the unconscious mind and dreams, metamorphoses of good and evil, the connection between image and soul, employing private and universal symbols. Santerineross’ inspiration springs from world religions & mythology, and his controversial profane tendency to combine sexuality- particularly alternative erotic imagery with religious iconography has attracted both admiration and criticism. Whilst in some photography magazines he has been called “the world leading Neo-symbolist artist“, Catholic League President William A. Donohue describes Santerineross’ as a nihilist and one of the “artistic assassins and moral anarchists who want to artistically assassinate Christianity, especially Catholicism“. Santerineross does not confirm or deny any statements or interpretations due to his belief that art should appeal to each viewer on a personal level; that they should define his art for themselves rather than being limited by an explanation, another view also held by the early symbolists.
The Symbolist manifesto (1886, by Jean Moréas) emphasises:
Truth in subjective experience. Truth in apparent chaos and insanity. Truth in excess and extravagance. The risk of what was once rebellious to become conformist.

John Santerineross’ collections feature unsettling erotic imagery, dream symbolism, and the nightmarish aspects of the human psyche, as he delves into the dark recesses of the mind where sado-masochistic fantasies and decadent narratives are generated. Psychoanalytically informed, he has the awareness that many of our repressions and fears are rooted in childhood trauma, which draws the obscure map of our unconscious mind and desires. The uncanny is linked to repressed ideas which are alienated and sometimes return to us through strangely familiar moments, through a sentence, a word, or a piece of art that can pierce through the state of repression and bring back certain feelings, wishes, and thoughts originating in childhood. It seems that his photographs allegorically reflect and encapsulate the dimension of desire and repression.

Review: Mira Nedyalkova’s underwater photography

A selection of artworks from the stunning, eerie underwater photography collection by Bulgarian visual artist and fine art photographer Mira Nedyalkova.

Mira’s work depicts the beautiful facets of pain and sadness in fluid forms, whilst linking water with sensuality and exploring erotic and emotional themes.

Water symbolism always makes us think of regeneration, purification, and catharsis – a reflection of the beginning and the end. Mira emphasises the dual dimension of water, symbolising sin and purity, as well as pleasure and innocence. The aquatic element has both generative and destructive powers; it can be life-giving and apocalyptic. Her models are depicted as otherworldly beings, seemingly frail, yet also dark and enigmatic. Water is also the essential element contributing to the surreal aesthetic of the pictures, since it changes the light, colour, and shapes captured in unexpected ways.

Mira Nedyalkova is not interested in pure photography – as opposed to many photographers who praise raw analogue photographs for capturing unaltered moments, she recognises the creative and transformative power of post-processing and digital editing as a way of enriching photography, of creating something new, conveying an emotion, and telling a story. As a former painter, she now sees digital editing as a way of getting closer to painting again.

Like many artists, Mira believes emotion is an essential part of a remarkable piece of art. Her view is epitomised in her stunning, memorable photographs, often depicting expressive, intense characters found in captivity. Other recurring characteristics of her artistic vision are a preference for nudity, the eerie beauty of nature, enigmatic, fragile-looking animals, and subtle sexuality.

Review: Laura Makabresku’s dark fairy tales

Polish self-taught fine art photographer Kamila Kansy, known as Laura Makabresku, draws inspiration from her deep, intimate connection to her native land – which she perceives as a mysterious realm of sinister fairy tales, in order to design a tragic world revolving around death, obscure eroticism, suffering, and human frailty. The suggestive name of her artistic identity conjures up the darkness portrayed in her haunting photographs which seem to reflect the Freudian uncanny through their eerie and strangely familiar quality.

Stepping away from digital cameras, she embraces the analogue practice with a soft painterly style with dark undertones. To create a gloomy, glacial, and morbid atmosphere, the colours used are often desaturated dark blue and green and the photographs are intentionally underexposed. Some photographs adopt the technique of superimposition to achieve a ghostly aesthetic and induce the impression that there is always something morbid looming within the frame – a dormant presence about to be unleashed.

The distinctive imagery depicting Laura Makabresku’s artistic world can be compared to a dream: it has multiple layers, inviting the observer to begin an internal exploration. Her pictures should not only be admired aesthetically, but also felt from within. The shots are like collections of impulses, raw emotions, objects filled with hidden symbolism displayed in a beautifully chaotic, surreal manner which often involves strikingly unexpected combinations of elements such as dead animals, naked bodies, blood, knives, ants amplified in size, ravens pictured indoors, and human bodies with animal masks. The uncanny is ever present in this artistic realm: from dead birds coming out of the mouth of a woman collapsed on the autumnal earth, a naked body covered in moss, guarded by a mysterious fox, a sorrowful girl’s languid body enveloped by a goat’s hide, a pensive woman touching a bowl filled with blood, upon which a little bird rests, a touching portrait of a girl embracing a fox in a glass coffin, eyes covered by pressed flowers or positioned dangerously close to a raven. All of her entrancing visual creations are filled with lyricism. In addition to these transparent motifs and compositions, the uncanny also lies in the homely atmosphere of the photographs, as well as the strange aesthetic quality reminiscent of macabre fairy tales.

Influenced by Francesca Woodman, her black and white portraits of the naked female body convey a duality between the calm, beautiful, graceful vulnerability and simplicity of the nude body sight and the undertones of death, darkness, emptiness, isolation, and dark sexuality. Through self-portraits, she embraces her fears and anguish and explores themes like autopsy, witchcraft, love, and a deep connection with animals, mortality, and the evil that lurks within her. The universe she creates makes the viewers look within and be inspired to embrace their own dark instincts and fantasies.

Review: Alex Prager

Fascinated by the mysterious quality of the colour photographs of William Eggleston, a 20 year-old Alex Prager decided to buy a professional camera and dark room equipment in order to express herself creatively through images, in her quest for existential meaning. 18 years later, currently on show at the Photographers’ Gallery in London, the Silver Lake Drive exhibition represents a mid-career examination of her distinctive photographic and filmic work.

The internationally-acclaimed images of crowds, staged by the artist, portray a sense of emptiness and disconnection underneath the polished façade of active, compact crowds. It can be seen as a subtle commentary on the continuous, superficial interconnectedness that disguises individual alienation: everyone is self-preoccupied and follows their own narrative. There is an intertwining line between the public and the private- groups of people finding themselves in the same space, unaware of or uninterested in the silent stories hidden in the others’ eyes and in their conflicting facial expressions.

Often shot from above, from voyeuristic angles, Alex Prager’s still photographs always have a cinematic quality: they seem to be frozen film stills, presenting a fragment of a greater narrative; which is the main reason the self-taught artist decided to create short films conveying the ‘before’ and the ‘after’ moments surrounding the photographs. Through the cinematic perfection of her still images, the ordinary situations depicted become compelling: the staged details in deep focus, the strange lighting, the highly stylised and saturated aesthetic, all render the reality of her world in a glamourous and glossy way. However, despite the hyper-real and sometimes eerily perfect nature of the pictures, the essence of this world lies in the portrayal of a disturbing emotion, hence there is always a sense of authenticity beyond the artificial fictive layer.

The focus on emotion has been acknowledged by the artist and made particularly obvious in her short film, Despair. This early piece adopts characteristics of her general cinematic sources of inspiration, including Hollywood melodrama, silent movies, film noir, art house cinema, as well as Hitchcock and Lynch. The atmosphere dictating her work is ominous, as if tragedy always lurks around the corner – an idea reinforced by the recurrent theme of the vanishing woman, which can also be found in her more recent film shot in Paris, La Grande Sortie.