$3.99 • Issue 37 • April 2017 (Digital Product)
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ISSUE 37 • April • 2017
In one of Amanda Tinker’s photos the ghost-like image of a child’s hand follows a worm. It feels as if we are privy to a private moment, watching as the worm is inspired to act, move itself forward, and the human is inspired to be curious, reaching behind; their intimate intersecting in shadow and light turns the ordinary into the extraordinary.
Mario Haberl shares a stunning array of photos, in one image an angel leads a small child towards the light, they walk in between slabs of concrete reminiscent of a parking garage, in another a young boy sleeps on a suitcase at the end of a dirt road with night falling and clouds streaking above him. Haberl delves into the mythology of youth, and raises many questions about the nature of who we are by inviting us into a surreal landscape where we want to stay for a long, long while.
Michele Cirillo takes what many view as the most important part of a person, their face, and superimposes scenes of ‘mercy,’ over them. Cirillo says, “I tried to create a contrast by inserting into the frame the mercy event, the mercy of life.” He succeeds, the images are jarring and offer one an opportunity to reflect on the nature of mercy and its important role in society.
Jean-Luc Grossmann’s series Burning Man, involved collaboration with his photographer friends, Justin Hession and Pascal Richard, together the three of them operate under the name PlanetVisible. The photographs we have are those from Grossmann, however, he underlines the collaboration with his fellow photographers, made the photographs showcased here possible. The desert lights up as Grossmann captures the freedom of self-expression in all its varying manifestations: mutant vehicles (as described on the Burning Man website), the unique faces and wardrobes of those who participate in a festival of freedom and inclusion, and as Grossmann says, “art pieces appearing through the dust.”
Ulisses Salom’s Geometric Ecosystems is a high contrast series where you know you are looking at metallic structures, but wonder, for just a moment if a ballerina might not be twirling from one of the beams, upon closer inspection it is metal shaped to look like that of a human. In another photo sunlight glints from behind a building and what appears to be a giant spider is on the loose––metal is transformed and asks us to look at the world differently. Salom successfully combines, “geometric shapes, metallic structures, bridges and buildings to create striking compositions.”
Steve Ross Fisher’s series, Galvestonia, features images from Galveston, Texas, a barrier island forty miles south of Houston. The Galveston that Fisher photographs is serene with undertones of melancholy. Fisher says, “I am often drawn to art with a simple beauty and a touch of sadness.” The photo of the broken down pier earns our sympathy, the swirling storm our awe, and when we are placed in front of a path of rocks leading far off into the distance, we imagine stepping forward, one foot at a time.
Sandra Djak Kovacs