MANGANESE 2019

“Maybe you are searching among the branches for what only appears in the roots.” -Rumi

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. 

The series is represented by Albumen Gallery.

 

 

 

 

 

 

 

 

 


SURREAL LANDSCAPE

SURREAL LANDSCAPE, 2016-2019, film photography. Surreal Landscape uses the medium of photography to look at vision as a way human understanding differs from artificial intelligence. The vision of elements presented in the series are sensual and textural. The materiality of imaging abstractions of elements becomes mirrored in the psyche, and embodied perception through the physicality of spacial viewing. The images are framed for the physicality of form in union with the perceptual state of mind to extract new forms from “mental turbulence.” As Davinci depicted turbulence in water and in the mind in paint, illuminating perceptual turbulence. Histories in painting are translated today through photographic, and more recently digital process.

The ability to extract form from turbulence becomes the ability to invent new forms in visual art history. Artificial intelligence attempts to do this by referencing samples, and photography attempts to sample the world a priori. With this series of analogue film, the closeness with what was (already there) comes through the traditions in sublime painting through a lens. The film is what does the looking, the rangefinder performs as an apparatus, entirely different from a digital reconfiguration. The difference is so slight, the self-evident truth is most often missed. As often how things go when something in plain sight is not noticed.

The peculiar challenge for humans to gain direct experiences socially appears compounded during technocratic times. As the framer of an image, the eye and timing attempts to gain a union with the subject in frame. The image goes towards the sublime understanding. In this aesthetic relationship, the relationship between vision (eyes) and the conception (sacral region of the body)  stir the ethical conversations on relationships between humans and nature. Using the distinct qualities of imaging technology by enhancing the digital interpretations of analogue film, the photographic image invites the viewer to open various methods in which vision and images can be read, related with, and understood. Values of beauty and internal and external landscapes, as principles, guide emotional and behavioural choices related to the environment of which humans are made of.

Colours in the series are heavy with magenta and amber due to both film itself and the qualities of the enhanced pigments in the Kodak Gold profile. The film noted for popularity in the regular market ties the sublime qualities in the everyday subject to the everyday material. The tones are often noted for warm and magenta colour casts. Magenta is understood to be the colour that does not exist on a frequency wavelength; the colour is one humans make up with their minds. Amber is a resin with a relationship to the electron in that it can be slightly negatively charged.As a substance used in ancient folk medicine, Amber (Chasmal), was understood as electrical conductor. Accumulated sap hardened over time was used to protect the body from harmful energies and revive benevolent energies from the heart and circulatory system. These material properties are mirrored in the reflexivity of both photographic process and resulting images, in the presentation, the images refer to the images themselves more than the subject being referred to. This cause and effect relationship aims to foster a structure that can be benevolent for the viewer.

 

 

 

 

 

 

 

 


SOMME 2019

SOMME, film photography, 2019, sizes variable. Somme is a place in France of a gruesome battle, noted for unnamed victors. Without clear winners, a site of indeterminacy offers a series of visual metaphors into the process of understanding nature. By attuning the senses to an ontological memory, the histories of a place can be felt through they body. The framing action in the apparatus of photography invites hypnogogic viewing of the elementals within nature. As virtual impressions (images), the photographs visualise spectrums of feeling through landscape forms. Beauty and brutality, finite and unrelenting, pain and reprieve, are represented in as chromatic windows into relentless changes in the ways life, seasons, and societies, build and fall.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 


 

Exhibition at Cyan Studio

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.”


SENTIRE (GROW) 2017

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.

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