synesthetetic artist
Author Marianne Nymo‘s debut book, Gryende Hvitt, features a portrait we made together during the Kjerringøy Land Art Residency in 2020, supported by Bodø 2024, Kulturrådet, and Bodø Kommune. An article published in Sykepleien (Norway) describes Nymo’s book as giving a voice to those with dementia.
MANGANESE, 2019, film photography, sizes variable. The film exposures from beneath a budding tree in spring are cast in a light reminiscent of the mineral Manganese. The element related to the metabolic processes within the human body are also used in manufacturing to prevent corrosion. The images aesthetically work to create reverence with the relationship humans have with nature. In high concentrations, Manganese is lethal, and in deficits cause great pain. As Elaine Scarry writes in On Beauty and Being Just, Beauty offers experiences leading to resolutions of inner turmoil. The balance of energy, motivation, and resources for a tree to grow also follows in traditions of seekers and sages of wisdom. “Maybe you are searching among the branches for what only appears in the roots.” -Rumi
The series is represented by Albumen Gallery.
POSTMODERN SCENERIES, 2009 – 2019, Oslo, Los Angeles, Chicago.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
SURREAL LANDSCAPE, 2016-2019, film photography.
Surreal Landscapes use the medium of photography to look at the ways of seeing. The vision of nature presented in the series are textural. Framing abstract forms in nature, an emphasis of materiality of image is presented. This materiality becomes mirrored in the psyche by the field of vision. Aesthetic relationships stir ethical conversations on the relationship between humans and nature. Using the distinct qualities of imaging technology by enhancing the scanner’s interpretation of film, the photographic image becomes the technocratic age’s take on pointillism. The tradition in painting transferred into contemporaneity, invites the viewer to open to the various methods in which an image can be read and understood while relating to values of beauty and landscape as principles guiding emotional and behavioural choices related to the environment.
In a Streambed a Body Formed In the Light Refracted from Waves & An Apophatic Knowing of Water.
SOMME, film photography, 2019. Somme, is a place in France and a gruesome battle site. As a place of indeterminacy, with unnamed victors, the series creates a visual essay into understanding nature processes, often considered at once predictable and surprising. By attuning my senses to an ontological memory through a meditation process, the histories I felt within my body while moving through present day landscapes directed my attention to frame the aspects of the forest. In a hypnogogic state, sense experiences invited each exposure. As a vivid descriptions, the photographs visualise pain through landscape. Beauty and brutality, finite and unrelenting, memories are represented in visual chroma as windows to relentless changes in the ways life, seasons, and societies, build and fall.
Exhibition at Cyan Studio, Jen Bjelkes Gate 13A, 0562 Oslo, Norway
Surrealistic Landscape images from a neolithic epoch and theology ideas.
20 år jubilium med temaet “Tid” May 25, 26, 27, 2018
“Et fotografi – en brøkdel av et sekund av et eksisterende øyeblikk. Øyeblikket er gått men likevel bevart en brøkdel av et sekund i 20 år er mange bevarte øyeblikk.”
“A photograph – a fraction of a second of an existing moment. The moment has passed but still preserved a fraction of a second for 20 years are many preserved moments.”
Machine Print Photographs from Film Development, made into Postcards.
SENTIRE (GROW), 2017, film photography. Artist note; while I cannot ingest the plant in any capacity, I approach this series with curiosity. There was so much wonder on many levels; the actual labor involved in modern growing practices is full of technology, offering the grower refined nuance in selecting the biological expressions and usage effects. I had often wondered on all the terrible things humans are capable of, why a plant rendering the user inert (in a sense) to the external world, but (as I understand) somehow more in touch with the interior connection with the natural world, could have been criminalised. The decriminalisation of this plant is viewed as a triumph for many people and places, yet has remained a taboo subject and remains illegal in Norway. Photographing these plants led to developing a Poisonous Plants concept over several years; more on a different page, later. For usage rights and permissions contact: rachel@rachelwolfe.com
Image commissioned for Baptism invitation. The image was then printed on Japanese, awagami kozo gelso fiber, paper.
|
|
Currere I received an honourable mention in the ND Photo Awards, Conceptual Fine Art category.
Currere I, 2016, 120 x 160 x .5 cm, film photography, digital composition and archival ink print
printed area 110.94 x 151.1 cm ( 43.7 x 59.5 in ) Prints of Currere are available with The Print Ateliér.
