Gregory Crewdson’s dark, atmospheric, cinematic photographs capture perfect frozen moments incorporating disconnected figures which seem to reflect the domestic and natural landscapes they inhabit; the mundane landscapes are often characterised by an eerie solitude and transformed into something otherworldy, haunting, and compelling. His photographs seem to both reveal and conceal
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 eroticism, as well as exploring the erotic in the light of the
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.
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’
These photographs are part of the Uncanny series. I’ve felt an urge to make things historically dark and more abstract- having something to do with Duane Michals, Francesca Woodman and the photo-novel of La Jetée, and more strongly with a long inner conflict about whether colour sometimes takes away from the
York Castle Museum period rooms and Victorian aesthetic: I. Reconstruction of a Victorian parlour, re-imagining the life of a middle class family residing in the York suburbs of the 19th century. II. 19th century Moorland Cottage: the living room of a rural cottage. III. 1700s Dining room book IV. Victorian
On a rainy day in late July, I went for a stroll in Hyde Park to capture moving images of nature. I was particularly on a quest of finding moments and details that would otherwise perhaps pass without being noticed or fully admired – abstract elements inducing reverie. My favourite