LoosenArt Mag / Gallery

Catalogue Exhibition │Millepiani

Posted on September 17 2020

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WINDOWS INTO THE VIRTUAL

Exhibition
25 February  — 4 March  2021
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JENS VANGE

The Way Out Photography, 2019

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After a meeting at the Saint Paul Downtown Airport in Minnesota, I saw a large old Mylar map in the corner. A window on the adjacent wall reflected in the map. I composed the photo so a loosening seam in the map created a fractured reality in the ordinary reflection.
- J. V.

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JENS VANGE

Is What You See What You Get? Photography, 2020

While walking in downtown Minneapolis, Minnesota, I noticed this distorted reflection of an apartment building behind me. It appeared in the window of an old church. I moved back and forth along the sidewalk, watching the reflected building change shape. Finally, I found the right composition captured the moment.
- J. V.
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SERGEJS BARANOVSKIS

One Day The House Caught The Clouds │ Photography, 2020

I love photography. I really love when my photos are interesting to others.
- S. B.

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CHRIS PLANT

Leaf on Blast Beach, County Durham │ Photography / Installation, 2020

A leaf, bleached to create transparency, used as a slide in a modified 1950's slide projector. Projected onto a limestone outcrop, on a post-industrial beach in the North East of England. Part of an ongoing exploration of the anthropocene, how humans change nature, and nature reclaims it.
- C. P.

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ANTON REDDING
The Darkest Light │ Photography, 2018
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KATIE SHAPIRO
Mount Everest │ Mix Media, 2020

This work explore the overwhelming task of living and parenting during the pandemic. In thinking about the current climate, especially related to motherhood, I've been inspired by fourteen mountains with the highest elevations in the world, otherwise known as the Eight Thousanders. The Eight Thousanders are located in the Himalayan and Karakoram mountain ranges in Asia, and their summits are in the death zone, with sitting elevations of 8,000 meters above sea level. The mountains reach heights requiring supplemental oxygen for human exploration, and the death zone is the point where the pressure of oxygen is insufficient to sustain human life for an extended time span.

- K. S.
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DAVID ROHN
Float │ Digital Mix Media, 2019

This work seeks to consider our anthropological trash heap, as a telling barometer of where ‘advancement’, and ‘progress’, and ‘growth’, might actually be trending, alongside record-breaking financial markets and luxury towers, the thrown-away that’s less and less ‘hidden’, and more and more ‘ in plain sight’.
- D. R.

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KELLY ANN MITCHELL
In Search #7 │ Photography, 2019
The figure’s journey through "In Search" takes her to several crossroads, stairs, and pathways which represent her decisions. With each decision, situations change, and so does the form of the shadow, making it difficult to recognize our internal shadow or its influence. How much do we recognize our internal shadow and how much do we allow it to impact our present, and ultimately our future?
- K. A. M.
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CSENGE GYORBÍRÓ

Pseudo Wedding │ Digital, 2020

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The formulation of the Pseudo Wedding concept, presents the historical recording of sexuality, the strictly moral peasant world, and reinforced medium- term desires and materialization in defined forms, as well as metaphorical review and further development. In connection with the encounter of desires and rite, I was dealing with the folk performances, during the carnival period. The only summary of the end-of-carnival habitual games of thought, fertility, transmission of life, mating, marriage. If its specific performers are the brides, grooms, or a periodistic imitation of a wedding. In order to increase sensitivity in relation to the formation of individual desire, the strategy, to facilitate processing, and alo to connect metaphorical communication and perform separation, which means that it consists of a material with inappropriate instincts. This is a communication bridge for the wedding itself. The pseudo-wedding is chosen from the folk theater games, and the themes of the reburial are thus brought together. In winter death and lifelessness, the flag is that this birth is a new stage of production, growth and development. The original function of the game was an ancient social tension, and it was a preparation for life rounds. As usual, the roles of a man and a woman played swearing alternately, while a priest kept tempting him with lyrics on the shield, a wedding crowd. The wedding was closed by dancing and singing. This powerful theatrical play, its costumes, props, thoughtfulness, is inspired by a corporeality, images of men dressed as brides emphasizing grotesque elements, an overview into an individual vision. This rework shows a bridal look that is more of a kyborg, pseudo-bride emphasizing masculine traits. Masculinity, men, cannot be sought by suggestive stereotypical elements, but we are habituated to recognise gender visually. This is how I came to the questions of the body hairs, which are still considered a taboo subject. The carnival vision presents an option where gender boundaries-maybe under the hair-can blur just for the wish of playing.
- C. G.

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LESLEY BUNCH

Concretion #2 │ Photography, 2019 

Shadows are fleeting, and in physics, described as “holes in light”. In my photos they become autonomous entities resisting verbal interpretation and untethered to literal meaning; each, an “absented presence”. They are something of our “hyper-real” world, of the unanchored over-information we increasingly drift in.
- L. B.

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YANXIN YU
Rehearse │ Video, 2020
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REECE GRIFFITHS AND ELLIE TOWERS
 Pre-Walkies │ Net, 2020

'Walkies’ exists as an online videographic journey through a cache of places, imaginings and memories comprised of simulacral human constructions. Using fiction, personal-reference and fringed domestic perspectives, the piece - a product of ‘The Space Raiders Residency’ at The Royal Standard Liverpool - aims to challenge expectations of interpersonal-relationships through virtual mass-connectivity-systems.
- R. G. & E. T.

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JOSEPH O'NEILL
Bunnies │ Photography, 2017
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JANE GOTTLIEB
Hotel Splendido │ Photography, 2020

I have been expressing my joy of art since childhood.   I began as a painter, evolved into a photographer, and eventually began painting vivid colors on my Cibachrome prints, creating my own colorful world before Photoshop. Now I scan my hand-painted prints and my library of 35mm Kodachrome color transparencies taken over 40 years years, and paint, collage and enhance them with Photoshop, creating a wonderful new magical reality.
- J. G.

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LIZA GASYUK
Home │ Mix Media, 2020

“Home” is a project about finding one’s own place using a deliberately technological approach to the most humane question possible - “Where do I belong?”. It consists of colored cutout photographs from a book about New York combined with Siri's answers to questions about the meaning of home.
- L. G.

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ÁNGEL CASTILLO PERONA
Lockdown Sunset │ Photography, 2020
This photo represents the strange and unexpected situation that we all experienced last spring, locked down in our homes, watching life pass by through our windows and wishing that this COVID pandemic situation would end and then we could enjoy freedom and beautiful sunsets again.
- A. C. P.
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MARIA COLETSIS
Intermission: Mining Digital Mix Media, 2020
Intermission is a series of images made during the Covid 19 pandemic addressing the protection of the environment and how halting our continual intrusion into nature might revitalize it. This unprecedented experience brought much to a stop from combustion, construction, mining, agriculture and warfare; the environmental benefits became visible quickly. Air quality improved as people stayed home and practiced social distancing but it became clear to me that the environment needs a mask from the human race and its use of fossil fuels. This sudden break from industry pollutants and the use of freshwater to transport waste away from facilities has given the environment a chance to thrive. Each image exposes the threat pollution poses to our natural world and ultimately to the human population. To aid in the reduction of spread for future epidemics, reducing air pollution now will be important because pollution damages our respiratory systems making all of us more susceptible to such viruses.
- M. C.
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KAYEE C
Augmented Datability │ Digital Mix Media, 2020

"Augmented Datability" questions how AR can take into consideration emotional parameters of human beings in order to help us make the best decisions. Combining portrait photography and data visualisation, I created an interface prototype of a "real time datability scan" that tells users how "datable" a stranger can be.
- K. C.

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FRANZISKA OSTERMANN
Self Observation IV  Digital Mix Media, 2020

A photographic self portrait is a way to recognize ones on being by visual means. In the virtual space of the internet, photographs become avatars of the person they are representing. Reality and virtuality melt together: Is identity no longer bound to the physical appearance in the concrete world?
- F. O.

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KRISTINA KHLMEYER
Killing Gulliver │ Digital, 2020
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ISLAM ALLAM
Untit, RedaRsinneD-eld │ Digital, 2020

This portrait is based on the dramatic character of the real Dennis Rader in the series Mindhunter. inspired by the music of " Murcof - Una "
- I. A.

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ISLAM ALLAM
Untit, WaldEeeenKirSsssch-eld │ Digital, 2020

This portrait based on the first digital image made on a computer in 1957 by Russell Kirsch, The image showed researcher Russell Kirsch’s baby son Walden Kirsch. inspired by the music of " Philip glass - Prophecies "
- I. A.

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PHILIP RINGLER
Shanzai Zhexue-Gator Fraud│ Photography, 2017

Shanzhai Zhexue, from Chinese, translates as Counterfeit Philosophy. This series focuses on obvious simulations, inflatable toys, as they interact with natural landscapes, creating new photographic realities. This image, Gator Fraud was photographed in an actual Florida swamp using an inflatable alligator, out floating amongst real alligators.
- P. R.

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DARIANA CHEM
Alienating Humanity │ Photography, 2020

"Alienating Humanity" is the photo project which dedicate to social problems. Inequality, discrimination - that's all surrounds us. All people are different like a flowers, we're like a sparkling stars in the night sky. So beautiful but so far away from each other. We shine or we can burn. People are united by one ideology - it's a force. No matter of skin color, religion, sex. We can be union of light, kindness and love. Just be together and take care of each other.
- D. C.

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EVE METHOT
Leopards Looking at Watteau' Masterpiece │ Mix Media, 2020
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