Beverley Veasey's last exhibition Natural History (Stills Gallery 2006) depicted animals and birds in artificial environments. In Habitats she is still interested in the artificial however this time the inhabitants, the animals, are nowhere to be found. We are left to gaze at the man made spaces created to replicate the wild - taking us 'into the wild'.
There are monkey bars, but no orangutans; forests, but no bears; and token logs absent of reptiles lizards or snakes. Water holes suggest life just out of sight, but no matter how much our eyes search the crevices amongst fake rocks and grass, we find nothing. At the back of the habitats, positioned in rockfaces and painted landscapes, are doors - leading nowhere. Do they promise an escape or another world beyond?
A poignant sadness is suggested, although Veasey appears to hold a fond affection for these constructed spaces, revelling in the personal touches to be found within them. Is she suggesting we look at them in another way, gently reminding us that natural habitats are getting lost? If we do not preserve and honour them, we will lose them altogether. She also seems to be saying that our species has the ability to adapt to all environments, even fabricated ones.
Most remarkable are the painted landscapes reminiscent of Namatjira paintings or American recreations of the Grand Canyon. These mythic landscapes are the stuff of
postcard dreams of travel beyond the limitations of the urban. What a wondrous view for a snake basking on that rocky ledge! Is it possible that our anthropomorphic urges have got the better of us?
Beverley Veasey has been exhibiting since the late 80's. Her work has been selected in many major prizes including the Citigroup Portrait Prize, the William and Winifred Bowness Photography Prize and the Olive Cotton Prize. Her work is singular, thought provoking and rewarding.
Women of Power consists of 29 color photographs depicting Polish witches, healers, sorceresses, visionaries, spiritual leaders and shamanic techniques practitioners.
According to what Ewelina Jarosz wrote about Women of Power : "The title points to Katarzyna Majak's intenti...
C’est à une invitation à la sérénité et à un retour sur soi que nous propose Yves Marcellin dans cette exposition inédite, installation photographique consacrée aux cinq remémorations du Bouddha.
Empreint des écrits du vénérable moine bouddhiste Thich Nhat Hanh, et plus particulièrement sensi...
With "The Family of Dog", Michael Ruetz has created, over the last 50 years, a unique body of photographic work. Superficially, these images might appear to pay tribute to the established forms of animal photography. But a second, more focused view shows that the reverse is true. Ruetz' pictures are as far removed from those of the animal specialist...
Failed States is an exploration of coincidence and poetics amid the barriers and bureaucracy of governmental power.
In January 2010, while on a trip to research the history of snipers in Austin, Texas, Magid witnessed a mysterious shooting on the steps of the State Capitol. After attempting to speak with a state empl...
Une Ford Pick-up, une Pan/Shovel 66, une Custom 2004 (Jeffrey), une Triumph 69 (Vince), une El Camino 64, une Bel Air 65 (peinte par Vince), une Duo Glide 62, une Comet (qui appartenait à Steve Mc Queen), une Special Construction 2000 (toutes, OM), une Harley 1969, une Dyna 2003 (Wes),une Pan 59, une Pan 62, une Pan 65 (John Copeland), une Sportster 68 (Dr...
Le conte photographique l’Emouvantail, se veut être « l’Echo » d’une histoire d’amour entre un épouvantail etune jeune femme, la Dame de l’O qui pourrait être celle de chacun d’entre nous… Mais pas seulement…
Créée par le Musée de l’Elysée à Lausanne, l’exposition Hans Steiner Chronique de la vie moderne a été présentée à la Fotostiftung de Winterthour, à la Médiathèque Valais-Martigny et au Museo Villa dei Cedri de Bellinzona.
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them, veasey, prize, she, landscapes, at, be, beverley, habitats, us, but, no, has, our, spaces, painted, been, work, wild, beyond, 
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