I´m in shock after a few months of having reviewed the images made by
Michael Levin and thinking i had seen them before. Today i came across the
Photography Now, One hundred portfolio's list, and stumbled on
David Burdeny work and finally figured out where i had seen it before. The interesting part is that they are both from Winnipeg, Canada. Coincidence or copy i do not know but it seems to close to the edge. Both artists record the passing of time and the painterly possibilities the photographic medium lends them. David says:
"I'm fascinated with the quality of light and the spatial immensity the ocean possesses. I have an enormous reverence for feeling so small in the presence of something so vast, where perspective, scale, time and distance momentarily become intangible. My photographs contemplate that condition, and through their reductive nature, suggest a formalized landscape we rarely see. The glory lies not in the act of this removal or reduction, but in the experience of what is left - sublime experience located in ordinary space: a slowly moving sky, the sun moving across a boulders surface or sea foam swirling around a pylon."
and Mr Levin: "To some, my work has a very painterly quality, the long exposures reducing the landscape to elemental shapes, so that each image is simple and pure but essential. While many of my photographs feature water and clouds, the smooth skin of light, it is the architectural intrusions into these clean spaces that now most engages me. Wood posts, concrete barriers, weathered rocks, even the elegant shape of French topiaries allow me to approach the canvases of my pictures with as much of a draftman’s pencil as a photographer’s eye".
I just found another few images by another canadian:
Lawrence Hislop that also shares a bit of the way he portrays our world with his other two co nationals.
August 20th,
Paul Kopeikin Gallery has Mr David Fokos work that seemed a bit familiar to our previously posted image makers. Take a look
here.
About his work: "David Fokos continues to explore the epic beauty of simple, geometric forms and enigmatic scenes through his favorite subjects: water, light, horizon, rocks, and sand. Combining long exposures with mechanical manipulations and dedication, Fokos’ style has by this point become signature. Fokos describes his work as filtering out the "visual noise" of everyday life to reveal the basic forms of our world. Fokos has chosen to make images that interpret feelings formed over time, just as we build a portrait of people across numerous meetings. His is not the ‘snapshot’ aesthetic, but a studied feeling of his total experience of place. With more recent works tending toward abstraction, the subject becomes less obvious. Constantly reducing and fine-tuning, his silent landscapes create a unique and personal visual poetry".
