\\\: Black\White

Dana Park Weiser

“Throw ‘Em Up”, hand signs by Dana Park Weiser.

Kevin Francis Gray

Works by Kevin Francis Gray.
Kevin Francis Gray was born 1972, in Northern Ireland. Lives and works in London.
He will be showing in Rome during November.

Daniela Bramanti Romano

Some photographs of my sister Daniela aka Didi.
Daniela Bramanti Romano was born in Bogotà (Colombia) in 1979.
Currently lives and works between Syracuse, Catania and Torino.

Wayne Levin has spent a career photographing the eerie and mysterious underwater world. Working in black and white, he removes the surface illusions about the ocean and the assumptions about underwater photography. Levin earned his B.F.A. from the San Francisco Art Institute and his M.F.A. from Pratt Institute in New York. His monograph, Through a Liquid Mirror (Editions Limited, 1998), received the Hawaii Book Publishers Association's award for Book of the Year. Levin received the Photographer's Fellowships from the Ohio Arts Council (1989); and the National Endowment for the Arts (1984). His photographs are widely exhibited and are in major public collections including the Museum of Modern Art, New York; the Bishop Museum, Honolulu; and the Hawaii State Foundation on Culture and the Arts.

Stephane Fugier

Stephane Fugier Photographer.
Black and white pictures, meet human body and materials.

David Ancelin

Avis de grand frais (2007).

Sans titre (2008), Teardrop sea (2009) by David Ancelin.

Found at Sculpture Culture

Nick van Woert

Nick van Woert.
Untitled, 2010.

Lex Pott

Dutch designer Lex Pott has created a table called “Stone and Industry.”
Found at Contemporist

Don Brown

Don Brown was born in Norfolk in 1962 and studied at Central St Martins School of Art and the Royal College of Art from 1983-88.
More at Almine Rech Gallery and Sadie Coles Gallery

Kate MacDowell

Goodbye Kiss, 2008. Casualty, 2009. Crave, 2006. Invasive Flora, 2009. Canary, 2008.

''I’ve lived and worked in many different environments and cultures that have influenced the way I perceive the world, and therefore my pieces. These experiences have ranged from teaching in urban high schools and producing websites in the high-tech corporate environment, to volunteering at a meditation retreat center in rural India a few hours outside of the fever pitch of Bombay. I’ve also collected visual imagery and ideas from my travels through Renaissance Italy, Classical and Minoan Greece, Nepal and Thailand.

Upon returning to the United States in 2004, after a year and a half working overseas, I began to study ceramics full-time at the ArtCenter in Carrboro, North Carolina and later at Portland Community College's Cascade campus and the Oregon College of Art and Craft's community education program. I am currently a member of the Oregon Potters Association. I have also studied flame-worked glass at the Penland School of Crafts in North Carolina, and participated in an artist residency at the Watershed Center for the Ceramic Arts in Maine.''

Kate MacDowell.

Jaroslav Kysa

"In oil we trust", 2009

Left: "pitch", 2006. Right: "1 cm3 of oil", 2008 and "untitled", 2007.

Works by Jaroslav Kysa

Ansen Seale

Heisenberg Figure

n.19 and n.13,

from the Series: Temporal Form

River of Light

Relativity

from the Series: X and Time: a dimensional exchange

Artist Statement

Over the past 10 years, I have pursued a little-known genre called slitscan photography. Far from being just a visual curiosity, it has become a substantial tool for the exploration of themes meaningful to me. I have found slitscan photography to be an excellent vehicle for ideas central to my work-- ideas about time and our place in its continuum.

It is important to understand that these images are not manipulated. This is the way my camera sees the world

Rather than suspending a single moment, my photography examines the passage of time. To accomplish this, I invented a modern digital version of the panoramic camera. In my version, a single sliver of space is imaged over an extended period of time, yielding the surprising result that unmoving objects are blurred and moving bodies are rendered clearly. The model in the studio must move in order to be captured. In the Water series, the stones in the river do not move, and so, become stripes. The water flowing past them perturbs their static image, creating a kind of color field painting. This is no trick. This is photography in the purist sense, but a form of photography where abstraction is the norm, not the exception.

Instead of mirroring the world as we know it, I believe this camera records a hidden reality. Like a microscope or telescope, the machine expands our ability to perceive more about the nature of reality. The apparent “distortions” in the images all happen in-camera. So, when the real world is this beautifully bizarre, manipulation is unnecessary.

I tease out this unusual reality lurking just beneath the surface of our everyday visual experience in the same way the cubist painters created dynamic tension by exploiting the interplay between what the viewer expects and what she gets. As photography is traditionally the rendering of real-world objects in two dimensions, that same creative tension arises in my work because, in effect, it discards the horizontal dimension and substitutes for it the fourth dimension, time.

Ansen Seale