gallery

The gallery project finished in June 2013. This page is an archive and submissions are closed.

150


John Lusk Hathaway
Mosquito Beach, Sol Legare Island, SC
2013
______________________________

The fototazo Gallery project ends today. Future posts of single images will be able to be found from today onwards on the fototazo Tumblr page.

Thank you to the photographers who have taken part in this project and an equally big thank you to all those who have submitted their work for consideration over time.



149


Kathleen Hayes
Daniel From LA, from the series "Flamingo Social Club"
2011

Series statement
Flamingo Social Club is my kitsch and colorful world at the shore; an askew dream escape on a hot day at the beach. It is a community, a place to play, rest, recover, recharge and worship the solar rays and frolic in the mighty ocean. My sea shrines and off kilter portraits are captured with an old twin lens reflex camera in Long Beach, NY.
______________________________

The fototazo Gallery posts will be ending with photograph 150. This week we will be publishing an image a day, Monday through Saturday, to close out the gallery project. For submissions information, please visit this page.




148


Michael Jackson
The Great Mann Point at sunset

Series statement
When I tell you that this image is not of a real landscape, does your appreciation of it diminish? Why would that be? The image is of real objects and I openly admit that it is not real - why would the fact that it was taken in my studio make someones appeciation of it change?

These are questions that I am trying to address. This series of images is called 'A Child's Landscape'. I have approached the idea of creating my own landscape by trying to image it though my own eyes as a child. Then my imagination could run free - the landscape was full of pirates and towering mountains. No 'real' landscape can show what a child can see - as a child's imagination changes everything.

I collect rocks and stones to photograph for this series. I am making up my own world that does not exist.




147


John King
Maberly
2013

Series statement
The Bonavista Peninsula is on the east coast of the island of Newfoundland, Canada surrounded by the North Atlantic Ocean. The peninsula separates Trinity Bay and Bonavista Bay and has about 30 small coastal communities. I live about 100 km. (60 miles) from the town of Bonavista and visit the peninsula fairly frequently.

This is a very rugged landscape. Newfoundlanders often refer affectionately to their home province as “The Rock”. On the Bonavista Peninsula it’s easy to see why. There is very little topsoil and many exposed geological formations. You rarely see a house with a basement.

Some of the oldest permanent settlements in the province were established in this area in the decades following John Cabot’s voyage of discovery in 1497. Communities were started near natural harbours where the fishing boats could shelter from the sometimes vicious North Atlantic Ocean. Homes were simple wood structures usually built by their owners; churches and schools were constructed by community volunteers.

I see a simple but strong beauty in this area. There is a built environment but the natural landscape retains an equal voice.




146


Juan Madrid
Untitled from the series "Sculptures of Ghosts"
November 2012

Series Statement
The world is in a continuous state of flux. Changes are a constant in our lives, though we may not all be aware of them and their influence. This is reflective of the power of life and death; the struggle between these forces informs the human psyche and leaves an indelible impression on it.

Different entities collide in a multitude of ways, leaving behind traces of events that happened or are in the process of happening. The presence of absence is inherent in the results of these interactions, something that informs the human condition and is representative of the search for something greater than ourselves.




145

© Alexander Diaz

Alexander Diaz
untitled, from the series "Somewhere in Between"
2012

Series Statement
The city of Rome is truly one of the most beautiful places in the world with its magnificent churches, ancient ruins, and picturesque views. These defining characteristics entice millions of visitors to Rome each year resulting in a city overflowing with tourists. Among the congestion and noise of the city, flows the Tiber River, which is segregated from its urban environment due its low elevation and towering embankments. As a result, the river and its environs are underutilized, poorly maintained, and starkly different from the bustling streets of Rome.

The area between the river’s embankments is an intermediate zone where nature and culture converges. The unique ecosystem of the Tiber is complex and quite fascinating. Although the river is inundated with trash and contaminated from the city’s runoff, nevertheless it continues to provide habitat to a variety of animals as well as offers refuge for many of the city’s inhabitants, especially the homeless. The Tiber River represents the resiliency of nature and provides a framework for tourists and locals alike to contemplate the relationship humans have with the natural world.




144


David Simonton
Nahunta, North Carolina, August 2004, from the series "Of This Place: Photographs from North Carolina"

Series Statement
Write about the land beneath your feet. —Eudora Welty

North Carolina has been my home and subject since I moved from New Jersey to Raleigh in 1989. I have now photographed in 365 cities, towns and small rural communities across the state.

I continue to work in the tradition of straight photography, a tradition that embraces process and the unity of vision and craft. I am a black-and-white-film photographer. I use manual cameras and standard lenses. And I process film and make gelatin silver prints in my darkroom.

While I readily acknowledge the documentary nature of my work, I am compelled to photograph by the visual aspects of a scene: geometry, beauty—especially when perceived in the un-beautiful—and the transforming power of light. Twenty-four years after arriving in the South, I continue to make pictures as an homage to home and to reflect my experience of this place.




143


Kate Nolan
untitled, from the series "Neither"
2011

Series Statement
Neither is an exploration into the hearts of young women in Kaliningrad. The first generation to have grown up after the collapse of the Soviet Union, they look to define their identity in this small 'island' within Europe. The women I have been living with and sharing with have generously opened up their homes and their minds to allow me to better understand this link between place, identity and history.

The region has had a short but complex history only becoming Russian after WW11 and then with the collapse of the Soviet Union, being severed from mainland Russia. This has left Kaliningrad in a fragile position but this fragility is countered by the strong, independent women that have guided me through the stories of this region and the lives of the individual telling me of their dreams and fears. Caught between their strong Russian roots and the new Europe these women search out their place amidst these two worlds.




142


Rafał Krela 
Endgame
February 16, 2006
Sobotka, Poland

Series Statement
February 2013 – There wasn't Sun for two months. Everything was still and silent, covered by the last dust. There wasn't any memories of Sun or life and there was nothing to wait for.

"Endgame" is a documentation of this dark winter and history of Earth without light. The documentation of a moment where everything found their last and final place.



141


Sandra Stark
Babby Rabbit
2009

Series statement
My work involves the intersection of still life and nature. My interest in still-life and installation goes back many years. It changed dramatically when my mother was dying of cancer. Inexplicably, my cat and dog started bringing me dead animals. Baby rabbits, mice, rats, birds of all kinds became part of my daily exchange with them. It was if to say it is okay to look at death.




140


Natan Dvir
Juicy Couture 01, from the series "Coming Soon"
2008

Series statement
In recent years, a kaleidoscopic net of huge billboards has enveloped the commercial hubs of New York City. The branding of the cityscape has become so ubiquitous, that the colorful, monumental advertisements, looming over the narrow streets, seem to be virtually unnoticed by the passersby. Giant billboards both dominate the urban landscape and blend into the background. Always in the peripheral vision, these ads turn the people moving through the space into passive spectators. The grasp is democratic and compulsory –the outdoor advertisements cannot be turned off and are able to reach a diverse public whose movements through the city momentarily overlap.

The effectiveness of outdoor billboards is juxtaposed with their impermanence; most are replaced after several weeks. The ephemeral nature, massive size and saturated colors of the ads create a fluid cinematic experience for the observer. People inhabiting the space underneath are pulled, unaware, into a staged set, the reality of the street merging with the commercial fantasy of the advertisements. "Coming Soon" is an exploration of our visual relationship with the branded city centers and the commercial environment we live in.




139


Thomas Bouquin
Smoke, from the series "Spirit in the Night"
2012

Series statement
The theme of this photographic series called "Spirit in the Night" is the urban landscape of the city of Montreal. In this work, I was interested in how the light sculpts the city at night, choosing these places based on the quality of their strangeness, which sublimate the banal to give them a new character. Faced with the reality of the routine and the loss of the sense of discovery, the journey continues through walking and photography, where at night I rediscover my city.




138


Isabelle Pateer
Under construction for nature recompensation, from the series "Unsettled (2007-2012)"
2010

Series statement
The project "Unsettled" questions the worldwide phenomenon of industrial expansions and its consequences, shown in the study of the Belgian village Doel and the surrounding polder area.

The place is threatened by vast expansion plans of the neighboring port of Antwerp and related compensation plans, required by EU law to compensate the expanding industry. Originally meant to balance these nature compensation areas create in fact an artificial contrast between nature and culture.

As a photographer I was born at the Dutch side of the border with Belgium, just a few miles from the village Doel. The big changes - fed by political and economic weight - interested me and motivated me to start a series on this local story, which can be seen as an example of a global tendency.

In the image above you can see the expanding industry and the new container terminal "Deurganckdock" (finalized in 2005) in the back, with in the foreground one of the contrasting created "wild" nature areas.

In the series you’ll find these landscape images combined with portraits of young inhabitants of the area. Leaving a sourish taste by contrasting the young with the local changes, they symbolise the international tendency of global political and economic shifts and the way they manifest themselves to the people and their surroundings.

Through the series I’d like to raise question marks at the "progress" character of these changes, happening worldwide.

"Unsettled" will be shown in exhibition format and published as a book scheduled for Fall 2013. The next upcoming exhibition is a solo show at Photofusion London (March 15 – April 26th 2013).




137


Michael de Kooter
untitled, from the series "Périphérique"
2008

Series Statement
In the project I brought together my passions for street photography and more formal documentary photography to analyse the border area of a modern, central-European city - Lausanne, Switzerland. The project investigates the counteracting forces of the stubborn and creative persistence of nature versus the unavoidable expansion of city-outskirts, carefully laid out by urban planning. This struggle is displayed through often metaphorically layered images which also shine a further light on the ambiguous way humans - both individually and collectively - deal with nature in the artificially created border environment. The Swiss in particular are an extremely organised people when it comes to city planning, which is visible in the confined and tame form nature is forced into. It appears that the constructed has not lost against the organic - yet. It is exactly that delicate, lingering determination that can be found woven throughout the fabric of the whole project. Despite the perfect execution, the busy-as-worker-ants expansion of our territory, there is a tangible feeling that the forces of decay and plant life are eternally stacked against us; just waiting for us to weaken, to slow our efforts - tired.




136


Jon-Phillip Sheridan
Direct Object 13
2010

Series Statement
I use the environs where these pictures are made as sets to create narrative potential outside the normal. I work at night to heighten the cinematic potential of the images using the found stage lighting of the urban environment. I focus on discrete isolated spaces, looking for marks of human actions and evidence of daily routines. I photograph in constructions sites, loading docks, and smoke break nooks behind run down strip malls. This is an archeology of the day to day: the remnants and ephemera - crumpled paper lunch bags, styrofoam cups, and piles of snow are suspended in a state of arrested instability. To quote Matthew Thompson, photography, “is an inherently analytic discipline”, the hyperrealism of large format photography magnifies the subjects material nature, creating a paradoxical ambiguity existing between presence and absence, the material and it’s representation.




135


Geir Tønnessen
Blue Mist
2012, Jessheim, Norway




134


Carl Bower
Aguardiente
1997

Series Statement
The pageants of Colombia are a petri dish for examining the nature of beauty and how we cope with adversity. Set against a backdrop of poverty, crime, and the decades of armed conflict, nowhere are the contests more ubiquitous and revered than in Colombia. In these carefully scripted shows of fantasy, beauty as a concept, commodity and singular goal is stripped to its raw elements. There is no ambiguity or pretense that anything else matters.

The queens are celebrities. Many of the roughly 400 contests a year can shut down a small town for days as thousands jam plazas and parade routes for a glimpse of them. Icons of a rigidly defined ideal, the contestants highlight the conflated relationship between beauty and attraction. Many of them seem familiar, stirring recollections of the same perfect features seen elsewhere, along with the identical flirtatious laughter, mock surprise and relentless optimism. In their quest for adoration, they erase nearly all traces of individuality.

While the inherent objectification of the contests and the values they convey to young women often provoke outrage and ridicule elsewhere, in the Colombian context the issue is more complicated. The millions who pack stadiums and follow dozens of national contests on live television often have a vicarious relationship with the queens, clinging to the Cinderella fantasy of magically transcending poverty.

The popularity of the pageants ebbs and flows with the level of violence in the country. The contests project an image of normalcy and vitality in the face of social upheaval and fear, a refusal to be defined by the violence or to live as if besieged. In a country rife with conflict, the pageants are a form of both denial and defiance.



133


Nathalie Daoust
Cat, from the series "Tokyo Hotel Story"
2009

Series statement
Nathalie Daoust’s latest project, Tokyo Hotel Story, continues her exploration of female sexuality and gender stereotypes. Spending several months living in Alpha In, one of the biggest "love hotels" in Japan. Daoust made intimate portraits of 39 women in hotel rooms, surrounded by the specialist equipment and dressed in the regalia that define their trade. Daoust believes numerous challenges still exist in terms of confronting deep-rooted stereotypes of gender-roles. Her work helps her to delve beyond taboos while showing the universal human desire to escape reality and create fantasy worlds that often oscillate between dream, reality and perversion.



132


John Lusk Hathaway
Little Stony Creek, Watauga Lake, TN, 2011, from the series "wild|life"

Series Statement
This photographic body of work loosely explores the topography of a southeastern broad leaf forest, but as integral as the forest is, the natural setting becomes a backdrop and secondary to the human element, and how we the people, live out lives in and around the public and private landscape of the Cherokee National Forest. This component inevitably comments on recreation, class and the role of this natural setting within rural Appalachia, an area that has been misunderstood for generations.

The underlying questions and concerns generated by the work are paramount in the process of learning about ourselves, and the interaction we have with a landscape that has been set-aside as a recreational outlet and a commodity for the infrastructure of our consumer based nation. Why do we as humans tend to migrate to natural environments? Why have we blocked off lands for our enjoyment and commodification? Why do we as humans look to the natural world for answers to questions that are as old as the forest itself? Is there something intrinsic in the forest that elicits our undivided attention? Is it beauty? Is there an element of the sublime? These are all questions the photographs contained within wild|life seek to distill into a form that is approachable.

It is my main goal that this body of work is a springboard for further thought and contemplation on who we are as a people and how we recruit nature to be our comforting shoulder and adumbration of meaning pointing toward something greater than the singular self and the experiences contained within this maddening jumble of post-modern life. By wielding my camera in a deliberate yet subtle manner, paying utmost attention to framing, light, space, and metaphor, I create a complex environment were the landscape and cast of characters coalesce and vie for attention within the public and private landscape of the Cherokee National Forest. The forest becomes a stage where human life is acting out a poetic form of wild living. Even if this exchange is mediated and flawed, these photographs continually show an interaction between humans and wilderness that is real and felt. It is imperative that we truly understand the importance of this relation, and mend our tattered and egocentric affiliation with the wild.




131


James Dooley
The forest disturbed, from a series of the same name
2012 

Series Statement
In 2007 we moved from England to a remote area of Sweden, near to the Norwegian border in an active attempt to rid our lives of as much of the nonsense of modern living as we could. However, even in a seeming wilderness the outside world can catch you and in a moment everything is changed. The forests here are old, but they are also a commodity that allows communities to exist. The shock of modern forestry is that something that has taken a century to develop can disappear in a day. Places of incredible atmosphere and beauty where we spend time of a quality that can only be found in wild nature. I realise now that the pictures I have been taking here are a requiem or a reflection on loss in a much wider sense.




archive
130: Maury Gortemiller, Hell and Backwards, from the series "Do the Priest in Different Voices"
129: Damien Sivier, #11, from the series "33 Horizons"
128: Shane Lynam,  Gagny Christmas Nativity, outtake from the series "Contours"
127: Keith Dannemiller, City Bus, from the series "Urban Ecology"
126: Nicholas Hughes, Field (Verse I) #2, from the series "Field"
125: Manuel Vazquez, From the series "Light Drizzle"
124: Misha de Ridder, Wissen Brünnen, from the series "ABENDSONNE"
123: Mohammadreza Mirzaei, untitled, from the series "Rewind"
122: Sebastian Lemm, strata #2
121: Céline Clanet, Morning sun over tundra, Mazé, 2009
120: Metehan Ozcan, Zoe
119: Alba Bran, Refugiado
118: Natalia Lopera, Perry 
117: Cindy Morrissey, Home Coming, from the series "Watching the Weather Change"
116: Stella Kalaw, Lola's Kitchen, from the series "Cubao"
115: Matthew Swarts, Beth, Long Beach Island, New Jersey, 2012, from the series "Open Water"
114: Octavio López Jiménez, Zautla
113: Beth Dow, Standard, Little Moreton Hall, from the series "In the Garden"
112: Joshua Dudley Greer, Pond 6, Point Pleasant, West Virginia
111: Sharon Boothroyd,  The Awakening, from the series "Edelweiss"
110: Thomas Jorion,  Blizka, from the series "Silencio"
109: Alexander Binder, untitled, from the series "Allerseelen"
108: Olya Ivanova, untitled, from the series "Gorelovka"
107: Maureen Drennan, Shasta
106: Chloé Meunier, Pauline
105: Jaime Permuth, untitled, from the series "Yonkeros"
104: Chris Round, untitled, from the series "Fragile Beast"
103: Tammy Mercure, Bristol TN, 2010 from the series "Cavaliers"
102: Dara McGrath, Liskova German-Czech Border, from the series "Edgelands"
101: Ashley Kauschinger, Self-portrait Without You, from the series "Hot Skin"
100: Cynthia Henebry, Lisa and Sophia, from the series "Waking State"
99: Nataly Levich, Bereshit, from the series "Tekoa D"
98: Luis Pedro de Castro, Prince of Turkey
97: Jamie Campbell, A Light Within
96: Thomas Locke Hobbs, untitled, from the series "River Bank | Barranca"
95: James Wasserman, New City 1
94: Eva Lépiz, Preparando el Jineteo
93: Giorgi Shengelia, moving, from the series "four room"
92: Emma Gluckman, blindfire, from ther series "distance (real and imagined)"
91: Elisabetta Cociani, Eldar, from the series "Svetlana"
90: Justin Fiset, Untitled (#0197), from the series "WLA"
89: Anthony Rush, untitled, from the series "Of other spaces"
88: Ruhollah Mahmoudi, Ashura in Bijar, Kurdestan, Iran
87: Jamie Furlong, Smokin'
86: Tabitha Soren, Running 000823, from the series "Running"
85: Mark Townsend, Santacon, from the series "In public"
84: JA Mortram, Jimmy at Home, from the series "Small Town Inertia"
83: Cynthia Bittenfield, IED, fom the series "The Home Front"
82: I-Hsuen Chen, untitled, from the series "Nowhere in Taiwan"
81: Martin Gremm, Goodbyes, from the series "Instants"
80: Bruno Quinquet, Ueno Park, from the series "Salaryman Project" (2006-present)
79: Natasha Gudermane, Leela, from the series "Mademoiselles"
78: Nancy Newberry, 09 11 19, 2010, from the series "Mum"
77: Natan Dvir, Amona, 2006 from the series "Belief"
76: Walker Pickering, Hole
75: Arturo Soto, Untitled, Queens, NY, from the series "Blind Views"
74: Lucia Herrero, untitled, from the series "Tribes"
73: Mariela Sancari, Two-Headed Horse
72: Nina Mouritzen, The Noisettes, New York
71: David Lykes Keenan, Car Wash, from the project "Fair Witness"
70: Orhan Tsolak, untitled
69: Jennifer Loeber, Camp Photo Day, from the series "Cruel Story of Youth"
68: Nur Moo, Edipo Re_*, from the series "Le due madri"
67: Arianna Sanesi, untitled, from the series "Urban Resistance"
66: Sarah Moore, Spring, from the series "Expanse"
65: Alireza Abbasy, untitled, from the series "Streets, Amsterdam"
64: Yanina Boldyreva, untitled, from the series "Glass"
63: Julia Kozerski, Ruins No. 1, from the series "Half"
62: Rachel Barrett, Cassidy
61: Ole Elfenkaemper, untitled
60: Alison Turner, Christmas Bingo In Colorado, from the series "Bingo Culture"
59: Juergen Buergin, NYC, The Umbrella
58: Luis Circa Melgarejo, Felipe and Pupé Quazar Drag
57: Juan Margolles, untitled, from the series "No context"
56: Juan Camilo Bedoya Vargas, untitled
55: Clara Patricia Machado, Mi Espacio
54: Stefany Cruz, untitled
53: Lorena Endara, Don Manolo
52: Zisis Kardianos, Untitled, from the series "Still Going"
51: Marie Quéau, Untitled, from the series "Paillasse"
50: Greg Girard, Aircraft Beacon, Kowloon, Hong Kong, 1985
49: Natalia Lopera, Abuelos
48: Jordanna Kalman, August
47: Garvan Gallagher, Anne F., from the series "My Way" (2010-2011)
46: Julia Schiller, Blank, from the series "Almost There"
45: Dimitris Triantafyllou, Basi
44: Chiara Tocci, untitled
43: Oliver Schneider, Bittersweet
42: Miriam O'Connor, untitled from the series "Attention Seekers"
41: Christian Rodriguez, Cindy, from the project "Mujeres Migrantes"
40: Matt Johnston, Ratliff Stadium, Odessa, Texas 'Permian Panthers Vs Midland Lee Rebels, 17,800 in attendance
39: James Friedman, #249, from the series "Pleasures and Terrors of Kissing"
38: Aura Lambertinez, Niña
37: Blake Andrews, Emmett
36: Matt Eich, Peter Swimming, from the series "American Solstice"
35: Christin Boggs, Kale and Row Cover, Mud Creek Farm
34: Nguan, Singapore
33: George Nebieridze, Untitled, from the series "Fresh Meat"
32: Nayeli Cruz, Untitled
31: Anastasia Cazabon, 1st Rib, from the series "Neurosis"
30: Scot Sothern, Drive-By Shooting - Hollywood Blvd.
29: Barry W. Huges, Untitled (Body), from the series "Falling Down"
28 Chrissy Deiger, Onna
27 Irina Rozovsky, Untitled, from the series "One to Nothing"
26 Jess T. Dugan, Mom, Chris, and Abby, Watertown, Massachusetts
25 Ayala Gazit, Diving Board
24 Gregory Halpern, Untitled
23 Daria Tuminas, from the series "Ivan and the Moon"
22 Dina Kantor, Andre, Helsinki, from the "Finnish and Jewish" series
21 Erika Ritzel, Ogden Street, Englewood, CO (Ceramic Statue)
20 Michael Werner, Mum Jan's Back Yard, Forster NSW
19 Amani Willett, The Smoker
18 Yves Choquette, Pointing
17 S. Billie Mandle, Saint Joseph, from the series "Reconciliation"
16 Phil Jung, Emerald City
15 John MacLean, Biggy
14 Juan Posada, Indomitable Will
13 Suzi Livingstone, Grey Wings
12 Serge Campo, Untitled Portrait
11 Dawn Roe, Goldfield Study (Burned Log)
10 Lydia Panas, Insect
9 Michael Cardinali, Blooming Tree Against Sky
8 Cori Pepelnjak, Roxo (Purple)
7 Alexander Harding, Oil Spill
6 Aline Smithson, Not As Interesting, from the series "Shadows and Stains"
5 Kevin McCollister, Man With Infected Nose
4 Kevin Thrasher, Patched Brick Wall
3 Dina Litovsky, Bride , from the ongoing project "Untag This Photo"
2 Khaled Hasan, Acid Fatality
1 Shen Wei, Untitled self-portrait (Touch)