Eirik Johnson’s photographic and mixed media projects address the intersections of contemporary environmental, social and economic issues, reflecting a deep interest in the relationship between communities and the surrounding natural landscape. He has exhibited his work at spaces including the Museum of Contemporary Photography in Chicago, the Institute of Contemporary Art in Boston, and the Aperture Foundation in New York. Eirik’s work is in the permanent collections of institutions including the San Francisco Museum of Modern Art, the Seattle Art Museum, and the George Eastman House, Rochester, NY. His books include Sawdust Mountain (Aperture, 2009) and Borderlands (Twin Palms Press, 2005). He earned a BA in history and a BFA from the University of Washington and an MFA in photography from the San Francisco Art Institute. Eirik is represented by the Rena Bransten Gallery in San Francisco and the G. Gibson Gallery in Seattle.
Each of these prints were shown as part of my exhibition at the University of Chichester’s Fine Art Degree Show 2012. Open for one week from Friday 12th May till Sunday 20th May 2012.
Eidolons #1, 2, 3, 4, 5 and 6, 2012
Digital Photographs
Six digital C-prints from a photographic series entitled Eidolons. All works are made ‘in camera’ with very minimal post-editing.
Images are 30” x 20”, professionally printed on matte photo paper and mounted on 12mm MDF with 9mm split baton fixings. Most are for sale priced at £300 each but this price is negotiable.
David Noonan
Untitled, 2006
Screen print on laminated plywood
188 x 199.5cms
Beginning each of his screen prints by making a collage, David Noonan brings together an eclectic array of found imagery – sourced from film stills, books, magazines, and archive photos – to create dramatic scenes that suggest surreal narratives. These collages are then photographed and turned into large-scale screen prints, a technique remarkable for its sumptuous finish that relates to both artistic authenticity and mass media. Printed in harsh contrast black and white, Noonan’s images encapsulate the romanticism of golden age cinema, and its associations to memory, fiction, and modern mythology.
Approaching image making with an auteur’s indulgence, Noonan presents a fabricated vision that is awesome in its complexity. Using the liturgy of art itself as a departure point for invention, Noonan conceives his work as ‘documentation’ of plausible performances: his cast of characters are positioned as participators in highly elaborate artworks, invoking covert and futuristic ritual. Stylistically referencing Surrealism and experimental film, Noonan’s work poses as the aesthetic remnants of ‘lost masterpieces’, weaving his own extravagant fantasies into fabric of collective consciousness.
Piecing together plausible narratives from his readymade motifs, Noonan renders the intimacy of psychological space as indistinguishable from public cognisance. Using the qualities of photomontage to replicate the linear aspects of film, Noonan’s disparate imagery collates to convey a transient sense of time and space that is both theatrical and strangely insular. Through his process of screen printing, Noonan capitalises on the effects of transluscent layering and exaggerated lighting to replicate the flickering chimera of cinematic projection; an intangible illusion simulating the abstraction of dreams.
Doug Rickard
#29.942566, New Orleans, LA. 2008. 2009
Doug Rickard (American, born 1968) studied United States history and sociology at the University of California, San Diego, before moving to photography. He has drawn on this background in research for his series A New American Picture, which focuses on places in the United States where unemployment is high and educational opportunities are few. On a virtual road trip, Rickard located these sites remotely using the Street View feature of the website Google Maps, which has mapped and photographed every street in the country. Scrutinizing the Google Maps pictures, he composed images on his computer screen, which he then photographed using a digital camera. The resulting pictures—digitally manipulated to remove the Google watermark and cropped to a panoramic format—comment on poverty and racial equity in the United States, the bounty of images on the web, and issues of personal privacy.
(via MoMA | New Photography 2011 | Doug Rickard | #29.942566, New Orleans, LA. 2008, 2009)
Fine art Degree Show 2012 on Flickr.
My work on display as part of the University of Chichester’s Fine Art Degree Show 2012.
Open for one week from Friday 12th May till Sunday 20th May 2012.
Eidolons #1, 2, 3, 4, 5 and 6, 2012
Digital Photographs
Six digital C-prints from a photographic series entitled Eidolons. All works are made ‘in camera’ with very minimal post-editing.
Images are 30” x 20”, professionally printed on matte photo paper and mounted on 12mm MDF with 9mm split baton fixings. Most are for sale priced at £300 each but this price is negotiable.
Fine art Degree Show 2012 on Flickr.
Relieved that my work is finished and on display as part of the University of Chichester’s Fine Art Degree Show 2012. Now I’ve just got to wait for my results…
The show is open for one week from Friday 12th May till Sunday 20th May 2012.
Eidolons #2 and 3, 2012
Digital Photographs
Two of six photographic prints from a series entitled Eidolons. All works are made ‘in camera’ with very minimal post-editing.
Images are 30” x 20”, professionally printed on matte photo paper and mounted on 12mm MDF with 9mm split baton fixings. Both are for sale priced at £300 each but this is negotiable.
Stunning paintings by Dan Voinea.
via lollyven:
Inside looking out ….. this image was taken as part of a project exploring phobias; the model had suffered for many years from agoraphobia and we explored various ways to represent it.
