Sarah Belclaire is a photographer and writer based in Boston, Massachusetts, Her writing is mainly focused on women artists, and she recently launched a social media campaign called #1woman1review to encourage more women writers to review the work of women artists.
Belclaire’s photographic work also focuses on women’s issues, both personally and broadly. Her current/ongoing series “Unmending” is an attempt to relate her own story about disability and chronic illness to healing as a universal and varied experience. She uses large pieces of fabric to create in-studio scenes and costumes embodying the dichotomy of covering up or hiding one’s self, as compared to emerging from trauma.
This featured photographer comes from a blind submission to Wobneb Magazine. Like many things in life, a blind leap of faith is called for. In this particular case, it means the curtain is pulled aside and Sarah Belclaire’s work comes to the front of the stage. Her work is presented with a dignified grace rather than a clanging gong. Her cathartic work in ‘Unmending’ uses her own body, and her own life experience to explore meaning of her own recovery from illness; and in the larger sense, what it truly means to heal.
Artist Statement for ‘Unmending’
“These self-portraits began with one year of photographing myself as I experienced chronic illness and, primarily, recovered from surgery. I photographed my healing scars and my life with those scars and presented these images to friends through Instagram and Facebook. As my healing progressed, the reactions of those who took my scars at face value drove me towards a different narrative: one of healing as a lifelong and universally relatable process, less tied to scars than to identity.
I began to explore the body language and inadvertent messages that remain when I photograph my healing body without explicitly including the physical wounds. In covering my scars I uncovered themes of affectation, evasion, and discomfort as well as self-awareness, poise, and resilience. Recognizing that I am neither sickly nor immune to damage, I experiment with draped cloth costumes, which when molded, re-folded, and altered, can transform me into any state of mind: exposed, invincible, or somewhere in between. I see myself as a soul-searching woman, hiding, concealing, revealing and adorning herself with fabric: first a curtain drawn, then a twisted rope; a hospital gown or a ballgown; sheath or shaper. This work is intended to address recovery as a self-aware and sometimes painful process through which we mend, unmend, hide, emerge, lean upon others, evolve, and reinvent ourselves in search of a narrative for our healing experience.”
“At the age of twenty-six I opted for surgery to potentially, one day, save my heart. All at once it was comforting, terrifying, scarring, and curative. I addressed the complexity of this journey by photographing myself every day, starting the day after my surgery. Even when I could barely walk I was taking photos, not because it was a challenge but because it was a relief.”
“My wardrobe and backdrops made from draped fabric are inspired by traditions of European painting from the Baroque era to early Impressionism. Fabric backdrops allow me to create a diorama of sorts in which to install my human still-lifes. Inspired by the elaborate use of costume and gesture in an exhibit of the Pre-Raphaelites at the National Gallery of Art in London, I have transformed myself into the heroine of my own anti-tragedy: an Ophelia risen from the lake.”
Sarah Belclaire is a photographer, writer, and researcher from Boston, Massachusetts. She has been writing about the arts and music and shooting portraits for 10 years. Her writing has been featured on BobDylan.com, Folk Radio UK, and No Depression. Her photos have appeared in international print and online publications such as Vogue Italia, PH Magazine, F-Stop Magazine, Photographer’s Forum, and Amy Poehler’s Smart Girls. To see more of her work from ‘Unmending’ and other photography projects, please visit her website at https://www.sarahbelclaire.com/ — to read Belclaire’s interviews, features and editorials, visit https://www.sarahbelclaire.com/redshoes
All images shown are from the series ‘Unmending, 2017-Present’ © Sarah Belclaire
Cristóbal Carretero Cassinello is a Spanish designer and photographer who “uses photography to capture beauty, detail and unique moments of our daily life and existence; also to surprise and play with the spectator, questioning the prism with which he observes the reality of things. Photography tells us and helps us to understand our relationship with the world through our own narrative and visual language.”
His project, Dialogues is a presentation of coupled images. These apparently unrelated stories, spontaneous encounters, whimsical shapes, colors and textures play against each other, speak and intertwine – showing us a new and visual vision of the city of Almeria, Spain. ‘Dialogues’ is a visual puzzle that reveals images with their own identity about the unexpected relationship of their people, objects, shadows, neighborhoods, beaches, streets and buildings with their surroundings, where everything acquires a unique meaning.
Dialogues tells us about beauty, old age, multiculturalism, poverty, luxury, religion, love and our existential step through the city of light. They are seemingly unconnected stories, but a third plane generated by our visual perception connects us with our lives, our cities and, ultimately, ourselves.
Cristóbal Carretero Cassinello is a photographer, graphic designer, web designer, professor of economics, expert in financial excel and professor of advanced office automation. Passionate about photography and design, for more than 20 years in the advertising graphic sector, he is the founder of the design and training studio for companies: www.kritodesign.com
Fluvial — transforming personal geography into a fictional world of shapes and forms
Project Statement — Fluvial is a meditation of the beaches and villages of interior northern and central Portugal. Photographed between 2011 and 2017, these fluvial scenes transmute personal geography into a fictional atmosphere. Testifying to the author’s lifelong relationship with northern and central Portuguese riverside beaches and villages, they act not in the manner of a topographic survey, but rather by equating erosion with vision. Just as the river currents have shaped the natural elements, time’s passage appears to have depurated irony off his gaze, predisposing it to form and analogy, and to kindness towards his equals.
Capturing families at informal moments of Portuguese society, predominantly emigrant workers home for summer from northern European countries, bodies, tree trunks and riverbed rocks resemble small sculptures (some of which are anthropomorphic); the human body, here almost amphibious, is often reduced to a simple form, to the submerged surface, either adopting the stream bed as an optical instrument, or by shaping it with light.
The human and non-human bodies emerge from chiaroscuro schemes, either as elements of an illusory mise-en-scène, or defamiliarized, reduced to mere form, as if by casting a spell on them.
Realistic yet dreamlike, conveying a pagan sense of nature, creating the atmospheric effect of an infinite Sunday, it reminds one of a summer dream — a visual ode to human leisure.
For more information, or to see more work from Mouraz’s project Fluvial, visit his website at http://www.titomouraz.com/en/works/Fluvial/
Also, check out our 2016 published feature on Mouraz’s work, Casa das Sete Senhoras / The House of the Seven Women
Peter Ydeen studied painting and sculpture at Virginia Tech, under Ray Kass, (BA), Brooklyn College under Alan D’Arcangelo and Robert Henry, (MFA Fellowship) and at Skowhegan School of Painting and Sculpture with visiting artists, Francesco Clemente, Judy Pfaff, William Wegman, Mark Di Suvero and others.
Over the past several years, Peter has concentrated on photography where he is able to use the many years spent learning to ‘see’. Shown below are examples from his latest series ‘Easton Nights’, which are all night photos from the Easton, Pennsylvania area where he lives.
Ydeen’s work from the Easton Nights series will be in an exhibition at Saint Joseph’s University, Merion Station, PA, from August 20th to September 25th, 2018.
Sandrine Hermand-Grisel grew up in Paris, France and in London, UK. She studied in Paris International Law before deciding to dedicate her life to photography in 1997.
Hermand-Grisel has exhibited nationally and internationally, including exhibitions at the Carroussel du Louvre (Paris, France), Rayko Photo Center (San Francisco, USA), Maison de la Culture (Luxemburg), City Hall, SFAC Galleries (San Francisco, USA), Europ’art’, (Geneva, Switzerland) Espace Bontemps (Gardanne, France), Centre Iris (Paris, France), Fotofever Photography Art Fair, (Brussels, Belgium), Le Pavé d’Orsay, (Paris, France), Viewpoint Gallery (Sacramento, USA)…
Shown below are examples from her project ‘Sea Sketches’:
Influenced by her late mother’s sculptures and her husband’s paintings and films, she worked on several personal projects before her series Nocturnes was recognized in 2005 by Harry Gruyaert, Bertrand Despres and John Batho for the Prix Kodak de la Critique Photographique. In 2006 she moved with her family to the United States and began experimenting landscape photography with her series Somewhere and On the road.
Despite the diversity of her projects she has a unique, very intimate, relationship with her subjects. Photography provides her with a way to express her feelings, like in the series ”Nocturnes” where she photographed only close friends and family members peacefully abandoning themselves in front of her camera. ”Somewhere” is her dream of America, a road trip through her adopted country. And ”Waterlilies” is full of joy and love for her two children as she watched them jumping and playing in pools over and over again. Sandrine Hermand-Grisel not only photographs what she loves, she breaks free from her own reality in her poetic vision of the world.
In 2013, Hermand-Grisel created the acclaimed website All About Photo and now spends most of her time discovering new talents while still working on personal projects.
To see more work by Sandrine Hermand-Grisel, please visit her website: http://www.hermandgrisel.com/index.php
Leticia Batty is a UK based photographer originally from Worksop, Nottinghamshire and now resides in London. She has a number of London exhibitions and book publications to her credit.
Leticia is a photographic artist who specializes in medium format color photography, with the Worksop and Sheffield area as the biggest influence on her work. Her practice explores themes of identity, landscape, British politics and the self.
Shown here are samples from her project ‘Milano’, featured on her website along with several other projects and publications.
Andrew Mellor is a photographer based in Lancashire in the North West of England. His photography explores natural and man-made environments; and the interaction between the two with concerns over how we use the landscape and the social and political issues surrounding it. His work explores change and human impact.
Land – Sea : Artist Statement
For centuries Blackpool was just a hamlet by the sea. But by the middle of the 18th century, the practice of sea bathing to cure disease became very fashionable amongst the wealthier classes and people were making the journey to Blackpool solely for that purpose. Our current perceptions of the British seaside were formed during this Victorian period – childish innocence, the fun of the fair and the tranquillity of the sea itself; simple ‘old-fashioned’ fun – are all the stronger for having these Victorian roots.
Between the years 1856 and 1870, a Promenade was built along the sea front to prevent continual erosion and potential flooding and over many years the coastline witnessed significant geological and geographical changes.
It was built in several sections, which vary in height and profile, with the first completed stretch of sea defence being erected from Talbot Square to the site of where Blackpool tower was to be later built. All sections were subsequently designed by a succession of Borough Surveyors and landscape architects, which were also built in stages. This has resulted in different architectural compositions of varying construction and design. The visual stimulus created by the differing architecture is a fascinating feat of engineering and can be used to improve society, both socially and environmentally.
The marine frontage is approximately 12 miles long, from Blackpool to Fleetwood, and is in constant need of maintenance, as it is estimated that the average life span of a seawall is 50–100 years. Hard-erosion control methods provide a more permanent solution than soft-erosion control methods and because of their relative permanence, it is assumed that these structures can be a final solution to erosion.
There are many fabled stories, which provide a mythical backdrop to the seafront, with tales of bells tolling from lost villages and the revelry of the patrons from the penny o pint, which superstition says is supposed to signify a stormy night. Maps from before the late 1500’s indicate the North West coastline ventured out possibly a mile or two further than it does presently. Supposedly, several villages stood along this peninsula and were said to have been destroyed during a tidal flood, around 1554 or 1555; some archaeological evidence suggesting the existence of these villages has been found.
To see more of Andrew Mellor’s work, or connect to him via social media, check out his website and links below:
Also: Read about On the Fringe by Andrew Mellor
Filter Photo is pleased to announce #Mass_Observation, a photographic installation by Krista Wortendyke, at Filter Space gallery.
#Mass_Observation is about the developing space of social media and how we use it not only as a way of collecting our own experiences, but as a way of connecting and consuming the experiences of others. Untrained observers continuously record world events, with the results posted to social media, such as Twitter and Instagram. With the rise of distrust in the major media outlets, we have turned to the non-professional, the Twittersphere, iPhone videos, and Instagram feeds for authentic and truthful windows to reality.
Wortendyke’s installation questions the aestheticization and mediation of violence in our culture by using images of racial riots, cropping them into Instagram-worthy squares, and combining them in a single space. The resulting installation mimics society’s comfort with Instagram while simultaneously calling into question the casualness with which we document and beautify events like riots.
Given the current state of racial politics and clashes in the United States, questioning and attempting to understand the role of mass media and the impact of social media in these conversations is essential. #Mass_Observation seeks to push audiences to consider their own consumption of mass and social media and the way each medium impacts the virtual spaces viewers curate for themselves.
Exhibition Dates: January 5 – February 3, 2018
Opening Reception: January 5 | 6pm – 9pm
Location: Filter Space 1821 W. Hubbard St., Ste. 207
Gallery Hours: Monday – Saturday | 11am – 5pm
About the Artist:
Krista Wortendyke (b. 1979, Nyack, New York) is a Chicago-based conceptual artist. She received her MFA in Photography from Columbia College in 2007. Her ongoing work examines violence through the lens of photography. Her images are a result of a constant grappling with the mediation of war and brutality both locally and globally. Her work has been exhibited at the Museum of Contemporary Photography, Schneider Gallery and Weinberg/Newton Gallery in Chicago, The Griffin Museum in Winchester, MA, and many other venues across the United States. Her work is also in the permanent collections of both the Museum of Fine Arts Houston and the Museum of Contemporary Photography in Chicago.
Only 2 days left to submit to Context 2018, the fourth annual spring open call for photography. This year the exhibition will be juried by April M. Watson, Curator of Photography at the Nelson-Atkins Museum of Art.
This annual open call for work celebrates the multiple perspectives and creative voices of contemporary photography. Open to all lens-based work, this exhibition is always exciting and filled with a great variety of artists. Scroll down for more details about the call and submit your work today!
Context 2018 will open March 16, 2018, at Filter Space and will be open through April 28. A juror’s choice award and an honorable mention will be awarded.
All types of photographic and lens-based work will be considered, including short videos.
The cost to submit to Context 2018 is $30.00 for up to five entries. The juror’s choice award comes with a $500 cash prize.
Juror and curator April M. Watson will consider all types of photographic work for this fourth annual survey exhibition of contemporary photography. This open theme allows for the widest understanding of the medium and current photographic practices. She is open to all interpretations and will accept photography and video.
January 14 – Submissions are due
Late January – Entrants are notified of juror’s decision
March 9 – Accepted work must arrive at the gallery
March 16th, 6 – 9 pm – Artists’ Reception and Exhibition Opens
April 28 – Exhibition Closes
About the Juror
April M. Watson is curator of photography at the Nelson-Atkins Museum of Art in Kansas City, MO. She joined the museum in 2007, and since then has curated and co-curated numerous exhibitions from the permanent Hallmark Photography collection, including Heartland: The Photographs of Terry Evans, a career retrospective of the artist; Through the Lens: Visions of African-American Experience, 1950-1970; American Soldier; About Face: Contemporary Portraiture; Time in the West: Photographs by Mark Klett & Byron Wolfe and Mark Ruwedel; and Human/Nature: Recent European Landscape Photography. In fall 2013, Watson served as the photography curator for Impressionist France: Visions of Nation from Le Gray to Monet, an exhibition co-organized with the Saint Louis Art Museum. She is also co-curator of the upcoming retrospective Eugene Richards: The Run-On of Time (2017), a show co-organized with Lisa Hostetler of the George Eastman Museum, Rochester, NY. Forthcoming projects include an exhibition of Gordon Parks’s photographs of Muhammad Ali, in collaboration with the Gordon Parks Foundation. Watson has contributed writing and scholarship to numerous exhibitions and catalogues, including Stories from the Camera (2016) and The Art of Frederick Sommer: Photography, Drawing, Collage (2005). Watson holds a PhD in Art History from the University of Kansas, Lawrence; an MA in Art and Art History from the University of New Mexico, Albuquerque; and a BFA from Alfred University, NY.