EDGELAND, Mark Kimber's latest body of work, continues his fascination with the borders of suburbia; carparks, industrial buildings, shadows and signs. In his earlier work SUN PICTURES (Stills Gallery, 2007) Kimber used a plastic 'Diana' camera to capture these scenes. The visual qualities that a rough plastic lens, two apertures (sunny and cloudy) and one shutter speed impart ably transformed objects and places into vignetted and illusionistic scenes.
Kimber is compelled to find "situations where the play of light, form and landscape converge in time and space to create an elusive and ephemeral piece of theatre." To produce EDGELAND he changed cameras, this time using a high definition model and shooting at dusk, the edge of the day. The intense colour of the twilight sky mixes with the artificial lights of the night. The car parks, containers and buildings become poetic summaries of themselves. The street and building lights that proliferate in his scenes are like beacons, calling our attention to details, which we would, in the bright light of day, disregard. Despite the lack of human actors, the lights suggest a stage waiting for the performers to return, with the sun.
In Truck Stop - South Road, a scene reminiscent of a Jeffrey Smart painting, the ghostly lines of a thousand truck tyres flow quietly in an arc under the sole street- light. In Back door - Mile end, a door seems to offer a range of possibilities for the next person to pass through it; a ladder to climb up, a white arrow to follow or - under the humming fluoro light - a podium on which to stand and ponder. In both of these works, a deep blue twilight sky hovers theatrically over the scene below. Like the American photographer Garry Winogrand, Kimber has always been fascinated with camera "sight", the marvellous alchemical process of shifting 3D matter into 2D imagery.
Mark Kimber is Head of Photography and New Media at the South Australian School of Art, University of South Australia. His work is held in various public and private collections including the National Gallery of Australia, Art Gallery of SA, Artbank, Art Gallery of WA, Parliament House collection, Waverley City Art Gallery, Albury Regional Gallery and the London Institute.
DIEHL starts its “Flaneur” selection with 42 works of the Soviet photo journalist Dmitry Baltermants. Best known for his pictures of the Soviet battlefield during World War II.
During World War II, Baltermants covered major battles for Izvestia and for the Red Army newspaper Na Razgrom Vraga. He fought and photographe...
Le 24 mars 1976, le peuple argentin subit un coup d’état militaire. C’est le début d’une ère de répression sanglante, où quelque 30 000 personnes disparaissent et près de 500 bébés sont volés. Mais s’ouvre également une période d’ultralibéralisme d&ea...
Blindspot Gallery is pleased to present Coastline featuring emerging Chinese photographer Zhang Xiao’s award-winning series Coastline that focuses on the continuous 18,000 kilometres of China’s coastline. The series does not merely capture the seaside landscape of these coastal areas, but also witnesses the changes o...
Du dépouillement des clichés de Catherine Lambermont se dégage une poésie narrative. Ses images composent une suite d’instants d’observation libre. Son travail réhabilite le continuum qui caractérise chaque frontière. La frontière est le lieu du lien. Entre le corps et l’es...
Eric Rondepierre a choisi de montrer au sein d'un travail multiforme, certaines des oeuvres qui ont partie liée au cinéma, depuis ses débuts en 1992. Sur un parcours de vingt ans, 56 pièces ont été prélevées dans dix séries : Excédents, Annonces, Précis...
Simone Nieweg is a photographer of gardens and landscapes. Her work, as it has manifested itself over the past thirty years, knows no other interest. At the same time, a certain serenity hovers over her pictures. In them, nature seems entirely focused on itself. One immediately notices that human beings are absent. The allure of colors and shapes...
« Je ne peux m’empêcher, atteste Gérard Uféras, d’associer la pratique de l’Art à la notion d’amour et de partage ». (extrait de son livre Etats de grâce, éditions du Fantom)
«Egyptian pack» evokes many associations - here are both Petersburgers favorite topic of werewolves (see the movie of E. Yufit «Corpsmen werewolves») and references to the Perm animal style.
Also we can recall British film «The Wicker Man» (1973) with its ritual procession of the man-beasts, ho...
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