issue eight / â‚Ź15 ire / new pictorialism
madame peripetie / age: 34 / nationality: polish / currently based: london/ in french, a péripétie is an unexpected occurrence or a sudden turn of events, a very fitting pseudonym for surrealist photographer sylwana zybura. the project “dream sequence” illuminates the dreamy phantasmagorias we disappear to at night. the characters take on a an eccentric, abstract narrative that transcends the limits of fashion photography. each image is dripping with surrealism, bold colours and impeccable detail and each bears strong influences of post punk, avant garde theatre and science fiction.
a letter from the editor / issue eight / history doesn’t repeat itself, but sometimes it rhymes and with this in mind we introduce the theme of ‘new pictorialism’. for anything new there must be something old, and any photography student will affirm that pictorialism holds a hallowed position at the very beginning of photographic history. consider that the visual art world during the late 19th century was questioning photography as a legitimate art form, a time when artistic intervention of the photographic process was relatively limited the response was pictorialism. it extended the artistic process by referencing paintings in its subject matter and composition. practically, this meant creative manipulation of the image using the tools available; lenses, colours and dyes. the idea was to make rather than take photographs. pictorialism continued until after the great wars. then, in the intervening years, photography answered its detractors, becoming an art form in itself. photography’s identity in the half century to follow was stable and self assured. until, that is, the arrival of the digital era: a period which would forever change the way photographs were made. a new process began, a process which altered the medium both physically and subjectively. this issue is about process. and our photographers are interested in the particular process of making rather than taking photographs. they are the new pictorialists, driven not by the defiance of their forbearers, but by confidence and playfulness. we see their work as a reaction to the acceleration of technological change and a desire to return to the hand-made craft of earlier photography. a glance at this issues’ photographers leaves one with a sense of the stamina and imagination required to produce these works. our featured artist and interviewee, madame peripetie, dreams up fantastic surrealist visions that don’t quite forget their fashion roots. also in interview is julie cockburn who applies craft techni ques to augment her images and expose hidden truths. laetitia molenaar floods her photographed 3d models with light, capturing the essence of edward hopper’s paintings. destroying to create, aliki braine forces us to reconsider our perceptions of the painted landscape. similarly, heather cleary’s playful manipulation of common household objects asks the viewer to participate and question. we feature a further 10 artists and to all we extend our utmost thanks. we are immensely proud to present the work within issue 08. work which some might argue does not qualify as photography in the traditional sense - notably, some of our artists do not claim to be photographers - we modestly suggest these artists embody a new incarnation of pictorialism, one of the founding ideas in art photography, something we like to refer to as ‘new pictorialism’. “taken out of context i must seem so strange” - ani difranco so turn the page for a fuller context of this strange new form of photography...
what inspired your working name, madame peripetie? / the name derives from peripeteia – meaning a turning point in a play. photography was a turning point for me as it became a medium that transports an idea into something physical. my drawing skills are rather poor (maybe i never really persevered), so at the very beginning instead of trying to explain my ideas to others i was sourcing all the objects myself, in order to build a character on a human body. the structure was meant to survive for a short period of time; it was very often subject to the model’s endurance; and dismantled directly after releasing the shutter. i didn’t want to use my real name so i adopted a word that appealed to me in terms of pronunciation and phonetic melody. with time it became more of a brand. what do you think that the purpose of photography is - do you have a philosophy on it? / what i love about the medium is the act of capturing/documenting this single, memorable moment in one frame – regardless of it being pre-existent or staged – and creating a whole world around it, both on semiotic/symbolic as well as on contextual level. when it comes to my own work i perceive it as a tool to create hybrid realities, that seem to be incompatible at first glance but radiate a sublime harmony and combine technological and surreal elements of a bizarre “cadavre exquis”. how did you become so involved in fashion and creative direction? / it just came naturally as i have always been interested in the interconnection of various disciplines and when i started constructing my own characters they synthesized not only a certain historical background aesthetics and symbolism but also a sculptural often abstract performative costuming. fashion for me has never been about wearability, functionality or trends – i perceived it more as an experience, a way of experimenting with a garment and creating a beautiful often very sculptural piece that transforms you into this hyper-real fictitious persona for a fleeting moment in time. initially, i was building all the complex outfits myself but gradually i started to collaborate with different designers (not necessarily in a strict connection to fashion) in order to create bespoke pieces combining their skills, our mutual creative “torrents” and my specific vision of an image that i needed to present to everyone involved as detailed as possible, in order to achieve a certain result. now it happens very often that i create a collaged mood board with all bits and pieces put together in order to build a thorough visual reference for my team. for more experimental projects we allow ourselves to choose the trial-and-error route and just fuse all the ideas together. you have been quoted as saying you want to be considered ‘a surrealist’; what draws you to surrealism? what are your main inspirations? / my inspirations come mainly from literature, film and sculpture – something tangible and intangible at the same time. i am also very intrigued by various disciplines rooted in new technologies and media, which climax with inventive and out of the box ideas you cannot pigeon-hole, contributing to forward-thinking. sci-fi literature and film have been always of my great interest and a big influence on my character design. i enjoy independent cinema where you only get a hint of something uncanny and subliminal happening. films like “post tenebras lux” or “hors satan” (with its stunning cinematography) focusing on a dark side of a human psyche where nothing is really happening on the screen but the tension and uneasiness evolve in your head.
dream sequence / flowerface / 2010
madame peripetie / from the series: dream sequence / horn 2012
madame peripetie / from the series: dream sequence / waterfall 2011
madame peripetie / from the series: dream sequence / headless 2010
architecture-wise heatherwick studio is a perfect example of a design-architecture-art-hybrid. i admire robert wilson for his virtuous lightning and scenography and very unique perception of time and performing with the body (often autistic) as a living sculpture that transcends the borders of reality (a never-ending einstein on the beach or a mantra-like lecture on nothing). sometimes i get inspired by some random things you encounter in every day life that look like they came out of a different distorted reality (more object-oriented but in a kind of martin parr way). the inspiration can be virtually everywhere. how do you compose a photograph? what is your process? / i see it as an arrangement of elements on a blank canvas: you start with a solid base and an initial idea. then you slowly move to drawing and layering the paint and towards more sophisticated details like in a staged movie scene. sometimes it works straight away and sometimes you need to start from scratch again. i do a lot of research when it comes to colour combinations, textures and composition but i intuitively decide on the day how i will position my protagonist in a frame. i need those few percent of improvisation in order to avoid the process becoming too stale. for me, photography is a perpetual construction of reality. i am also a very intuitive person – at times i create certain connections in a very natural way without giving them too much of a thought. your work is very theatrical - does the theatre inspire you? / yes, it does a lot – both on the formal and visual/acoustic level but also the physicality of a complex character, his/her interaction with a temporary environment and his/her direct connection to the audience that synergically absorbs the performance. the uniqueness and non-repetitiveness of the moment that evaporates after the play finishes and you can only rewind it in your head (or attend a performance the second time but the initiation has already happened) is fascinating. what in particular inspired ‘dream sequence’? / there were a few inspirations that triggered the series – one of them was a salvador dali’s dream scene from alfred hitchcock’s film “spellbound”. i think i liked it a lot as it is closely connected to archetypal dreams, which were investigated by jung. they occur in a transitional period of one’s life and often leave you in a sense of awe and reverence, echoing in your mind long after you experienced them. the main idea was to create unconventional characters that radiate the contemplative and poetic artificiality of sugimoto’s wax sculptures (a fine line between real and unreal) and the hallucinogenic beauty of abstract surreal objects trapped somewhere in limbo between life and death. those sublime characters matured over time and i kept producing additional images every now and then. every photograph involved a certain amount of suffering either for the model or for the team and we all had to elbow ourselves through the arduous process of the assemblage of the protagonist which also created this unspoken bond between the team members. it took me 3 years to complete the series and it will be finalised in form of a book that will be self-published later this year. i am planning to launch a crowd-funding campaign soon, to raise funds to cover the costs of printing. this issue toys with the idea that there is a ‘new pictorialism’ - what is your opinion of pictorialism in general? / pictorialism focuses on a personal artistic expression, exercising and stimulating the imagination and on “creating” an image, rather than simply recording it. in the 19th century photographers struggled to be seen more as artists than technicians, aimed for emotional impact, rich and delicate images and poetic interpretations. today they struggle with the devaluation of the iage that disappears in billions of photographs generated every day. many come back to craft, de-accelerate and get immersed in long-term projects, strive for nuanced hybridized individuality and considered approach, that results in distinctive style. on the other hand instagram represents a mainstream form of fast-food neo-pictorialism today.
aliki braine / age: 37 / nationality: french / currently based: london / braine deconstructs her images whilst in negative by cutting them, punching holes in them and splashing them with ink. she is interested in transforming pastoral photographs into abstract objects. by drawing attention to the physically disrupted surface of the photograph we are suddenly forced to view them in a brand new way. the historical painted landscape, usually presented as a pristine idyll, is a familiar theme, but her destructive techniques alter our perception and render them strange and unfamiliar.
draw me a tree / 2006 (left page) | the hunt / 2009 (above)
jens ullrich / age: 45 / nationality: german / currently based: mumbai / these large scale collages play the tension and drama of sports photography against the languid inertia of classical sculpture. these two forms of human illustration would initially seem to repel each other. but in ullrich’s work they become fused together as a graceful, weightless whole that is simultaneously full of life and motion yet set in stone and weighted in time.
flieger nr. 41 erigeneia / 2010 | flieger nr. 02 taurus / 2011 (left page) | flieger nr. 60 vimana / 2011 (next page)
akihiko miyoshi / age: 39 / nationality: japanese / currently based: portland, oregon / miyoshi dispenses with all forms of software trickery using only a mirror, some coloured paper and tape to make self portraits. feeling that technology, and over-editing, can create a sort of tension in photography, he has stripped the process down. using mainly red, green and blue tape-the ‘three primary colours that constitute a pixel’ - he creates portraits that neither hide nor reveal the photographer, bringing forth the complex issue of authorship in digital photography.
from the series: abstract photographs / 093011cF / 110111b /112811g (above) | 120511a (left page)
sebastiaan bremer / age: 42 / nationality: dutch / currently based: new york / bremer started by making paintings based on photographs, now he works directly onto the photographs using paint and inks. these images are taken from a family holiday to the alps in 1973. he layers ink dots and intricate paint swirls to tease out a deeper connection to the photograph. the result is an almost mystical, meandering look at the past through one artists very personal imagination.
large schoener goetterfunken II ‘daughter of elysium’ (tochter aus elysium) / 2010 | schoener goetterfunken VI, run, brothers, run your race / 2010 (left page)
daniel gordon / age: 33 / nationality: american / currently based: brooklyn / as the son of two doctors gordon feels that seeing images of surgical operations as a child greatly influenced his art. he scours the internet and old magazines for images, printing and cutting them up, before sculpting life-size, three dimensional human collages from them. these are people in extreme situations; accidents, giving birth, operations. the resulting work is photographed, creating deliberately crude and grotesque portraits and still lifes’.
from the series: green line / 2012 - present | portrait in yellow orange and blue | shadows and pears (right page)
laetitia molenaar / age: 52 / nationality: dutch / currently based: amsterdam / for her project ‘here comes the sun’, molenaar set out to recreate the paintings of edward hopper in photographic form. she built miniature, three-dimensional cardboard sets which she then illuminated with a small electric bulb. she lit her models with a huge floodlight and combined the two. the result attempts to capture the emblematic use of light and shadow so distinctive in hopper’s work.
sunlight in a cafeteria / 2011-2012 (above) | summer in the city / 2010 (right page) | summer evening / 2012 (next spread)
thomas devaux / age: 33 / nationality: french / currently based: paris / in ‘collages’ the smooth, graceful images of beautiful women, familiar to us from classic paintings, are turned into eerie, mangled shapes. jutting faces and jagged, twisted limbs emerge from dark and ambiguous backgrounds where relics of religious iconography appear, helping to create a deeper layer of meaning. this layer can be disturbing and challenging; offering a commentary on the idealisation of the female body or the power of religious belief.
from the series: collages / mange / la face / la main et l’enfant
matthew brandt / age: 30 / nationality: american / currently based: los angeles / for ‘lakes and reservoirs’ series, brandt employs a deceptively simple technique: he visits a lake or reservoir, photographs it, collects some water from it, then soaks the print in the collected water. the image reacts to the real. over time the water creates a colourful reaction and a profound connection. his landscapes are first beautifully shot and meticulously researched, then wilfully degraded by the same water that inspired the photograph.
from the series: lakes and reservoirs / sylvan lake sd 4 (above) / sylvan lake ca 3 / (left page)
reiner riedler / age: 44 / nationality: austrian / currently based: vienna / pushing the boundaries of what we call photography, riedler’s new series ‘sweat’ uses ‘camera-less’ technology. the human faces that emerge from these images are created using cotton cloth treated with sensor dyes. when wrapped around a person’s face, a chromatic reaction takes place between sweat and the dye. the reaction is similar to light on photo paper and the resulting imprint becomes a photogram. the ghostly faces only appearing when it is converted to greyscale and the contrast increased.
from the series: sweat / portrait of wife # 1 / 2013 | the giant / 2012 (right page)
melinda gibson / age: 28 / nationality: british / currently based: london / using charlotte cotton’s seminal book, ‘the photograph as contemporary art’, for both inspiration and material; gibson seeks to explore the impact changing technology has on photography and the reverence in which we hold iconic photographs. she creates multilayered images by cutting up and splicing together the work of some of photography’s greatest figures. the collages are printed as stickers and fixed by hand into individual conceptual books.
from the series: the photograph as contemporary art / VI | VII / IV (right page)
lauren marsolier / age: 41 / nationality: french / currently based: los angeles / this series uses photomontage to explore the phenomena of transition. scenes of pale concrete buildings in sun bleached landscapes invite the viewer into a deceptively honest and tranquil world that soon becomes eerie, impossible and filled with allegory. at once familiar and disorientating, these images reflect the psychological impact of change that we experience in our lives.
from the series: transitions - part 3 / 2009 - 2012 | untitled / playground (right page)
yang yongliang / age: 33 / nationality: chinese / currently based: shanghai / yongliang began his career as an artist in traditional chinese painting and calligraphy. in this series, ‘the peach blossoms colony’ he reinterprets the classic idea of a place of spiritual refuge for the chinese literati. his version exists in neither past nor present but in an obscured place where modern buildings and clothes shore up against pastoral idylls. this is an ancient spiritual world that exists in the subconscious of modern city dwellers.
from the series: transitions - the peach blossoms colony / broken bridge
julie cockburn / age: 47 / nationality: british / currently based: london / cockburn is a storyteller, interested in exploring what it means to be human. she takes found objects and, through a laborious crafting process, imbues them with their own narrative and a new purpose. these worn, nostalgic photographs are transformed by her delicate craftsmanship into works of art which contradict mass produced and digitally altered photography. re-purposed, these images illicit a dialogue about gender, identity, art history and memory.
from the series: conversations / the enigma / the sage / jolie laide (right page) / 2010
what is your artistic background? how would you describe the art
at, scrutinised, loved, (or objected to) and the process kind of starts
that you make?
all over again. i try to stay on the right side of the law as far as copyright /intellectual
/ i was trained as a sculptor – i studied sculpture at central st
property is concerned. my ethics are constructed around my interest
martins in london in the 1990s, and that gave me a grounding not
in exploring the messiness of what it is to be human.
only in the discipline of working and ways of seeing but also in the language that goes hand in hand with a fine art practice. if i look
defacement is another theme in your work: what do you think of
further back, to my childhood in the 1960s and 1970s, i was always
graffiti and street art? would you, or have you, ever taken your art
making things – making stories from cut up magazines like a game
on to the streets?
of ‘consequences’ and exploring the craft techniques that i use today like collage and embroidery. i am not sure what you would call
i am a great fan of graffiti. i live in the east end of london and am
the work i make today, though it has been embraced by the world of
surrounded by really good street art. not just a tag, but a 20 foot
photography. i would never consider myself a photographer unless
rabbit or a carefully positioned mosaic. i have never considered
i took up a camera and started to take pictures of my own. i align my
either graffiti and street art, or what i do, as vandalism. if someone
practice more closely to craft or drawing/painting or even sculpture
defaced my work? it has never happened, but i think if it did, i might
because of the decisions i make in the image making process.
enjoy the continuing conversation. the main pleasure i get from my work is in the making of it.
how do you source your materials? what is the purpose of photography in your work?
what draws you to a certain image, a personality? colour? era? your imagery is often very retro, with modern abstractions. how
/ i source my materials in many ways – car boot sales, junk shops,
do the ideas of nostalgia and memory fit into your work?
ebay. a lot of the photos i use in my work come from the united states – i think there was a strong tradition in the 1940s and
/ it slightly depends on what i am working on at the time – whether
1950s of the studio portraiture that i find so appealing. it is this very
i am looking for particular images to slot into a series or just
traditional, archaic and most importantly generic form of portraiture,
something that grabs my attention. there is definitely a type of image
that allows me the freedom to add layers of intrigue, and depth of
that i look for. to date, they are each original, so they have a particular
character. the original sitter is often so neatly and politely posed
physical patina – creases, deterioration, pin holes etc – that add to
- so static - that i feel compelled to explore the hopes, dreams
the perception of lost/found, broken/re-instated when i have added
and nightmares that they might be attempting to conceal. it is like
my intervention. then there is the notion of the generic – the head
a grown up version of playing with dolls.
and shoulders portrait shot redolent of 19 portrait paintings; or the emblem of house/landscape. my house pieces are directly related
from an ethical point of view, how do you balance the artistic
to the drawings i made as a child of ‘house/home’ that were always
vision with the fact that it is someone else’s photo, especially at
multicoloured and linear. i love recognising that continuity.
a time when intellectual property is such a hot topic?
there is also a wonderful technicolor feel to the hand tinted photos of the 1950s that i use. i have a thing about technicolor – the movies
/ this is something that i am ambivalent about. on the one hand,
grew up on – fred astaire, john wayne. so perhaps there is a nostalgia
these photos are thrown out, dusty, creased objects, sold in a job
there for an era of my own life that is past.
lot by a chance ebayer for a few pence. they are history-less in the sense of family lineage, unloved and forgotten and sold not as an
what are your main inspirations?
image of a person, but as a collectable object. the photo itself has currency as an object, rather than an homage to the person or place
/ i love the decorative arts and craftsmanship and am inspired
it depicts. so i feel in some ways that i am re-inventing them, giving
greatly by these. fabergé jewellery, ming dynasty chinese pottery,
them a second chance. almost collaborating in hindsight with the
pretty much anything japanese. and i am, of course, inspired by the
original photographer, creating another opportunity for exposure.
photos that i work with. the photos themselves somehow dictate
the altered image then goes back out into the world to be looked
my interventions.
manipulation is key to your work; do you arrive at the final product
(lover, history teacher, astronaut, gambler, daydreamer, detective,
through experimentation, or very purposefully?
commitment-phoebe) in us all.
/ the degree of experimentation depends on whether i am working
your work nods to cubism. what artists would most influence you
on a new body of work or adding pieces to a series. but i always
in that sphere?
work on a scanned copy of the original photo, either on the computer (i do a lot of planning in photoshop before working on the actual
/ picasso. i really get his paintings, the emotions that he transmits.
found photograph), or on a print out. the found photos are precious
i would love my works to have that power.
to me and unfortunately, unlike painting or drawing, once i have cut or stitched into the original, i cannot undo it. it can be stressful,
have any of your found photographs ever been recognised/
particularly because i have such a strong idea of how i want the
claimed?
finished piece to turn out and sometimes they just don’t sing once completed. every so often i have to discard a piece that i have spent
/ this has happened once to me. a woman recognised her
a couple of weeks working on.
grandmother as the basis to a piece of work. she was delighted that i had found it (in a lot on ebay as far as i remember) as she did
what draws you to old photographs? were you ever a collector?
not have an image of her granny herself. it was so battered and broken when i received it. she bought the piece.
/ i have never been a collector per se, but i have got portraits of my family members throughout my home. both my parents and all my
this issue investigates whether there is a ‘new pictorialism’ in
grandparents have passed away, and it is affirming to have these
photography; what would your opinion on that be?
aide-mémoires around me. on my mantelpiece i even have a photo of me of when i was about five that used to be on my father’s desk.
/ i guess this is true, though i think photographs have been
another reminder of another loss – of my own innocence.
manipulated since the medium was invented, so the notion is not necessarily ground breaking. but i am aware that prizes like
i use the found photo as a metaphor, i suppose, of the everyman
the deutsche börse photography prize has, for the last three
and everywoman, the archetypes, reminiscent of chaucer’s pilgrims
years, been won by ‘photographers’ who physically manipulate or
in the canterbury tales, or the witches, ogres, woodmen and children
appropriate the photograph. perhaps this trend suggests a quest
in traditional fairy tales.
to explore the limitations of the photograph and that photography in a digital era is maybe undergoing a sort of backlash – a nod to the
how do you title your pieces - considering that the subject may
clumsy charm of hand tinting, etc.
be some stranger’s brother/mother/lover. the piece ‘the adulterer’ might be offensive should the original sitter/a family member
we are all now so conditioned to seeing the world through images,
come across it?
that the image itself is losing its ‘otherness’. i am particularly aware of this in my own practice. i find it really hard to ‘see’ a finished
/ they may be. in the unlikely event that a person connected in any
work in the flesh. better, i scan it and look at it on screen or printed,
way to the original sitter were to come across one of my pieces, it
or stranger still, look at it in the mirror. i like to believe that this is
would be only entirely natural that they may feel flattered/offended
because i am too close to the work to be able to look at it objectively,
about the content and/or title. however, the main intent in my
but maybe it’s because i am losing the ability to understand anything
practice is to illicit in the viewer the notion, perhaps, of the adulterer
in three dimensions without having a two dimensional reference.
from the series: conversations / boy / 2010 (previous page) | the green stripe / 2012 (right page)
heather cleary / age: 32 / nationality: american / currently based: cleary / works with everyday objects like tables, fruit and houseplants to create images that are perplexing and playful. she carefully arranges these objects, isolating and modifying aspects, until she turns them from utility into abstraction. by tricking the eye questions are created and the image becomes a multiple layer of experience and interpretation.
david / 2013
established in 1978 the gallery of photography is ireland’s centre for contemporary photography. the gallery has exhibited many of the leading international names in photography and provides an important platform for emerging artists from ireland and abroad. in addition to exhibitions, the gallery also provides photography courses, a specialist photography bookshop, membership programme, studio/ darkroom facilities, and digital production facilities. the gallery, which is non-profit making, is funded by the arts council and dublin city council, and also welcomes donations, sponsorship and support from members to help promote its activities. website: galleryofphotography.ie forthcoming exhibition: august 24 – october 1 2013 the market a project by mark curran specially commissioned project will be presented in dublin, belfast and limerick, each with distinct and different work, marking the centenary of the 1913 dublin lockout, as part of a nationally-spread reflection on this significant centenary and the society of today.
UNCERTAIN STATE photography & the crisis in ireland 21 june – 11 august 2013 how is photography responding to the crisis? uncertain state looks at how photographic artists are representing this period of austerity and uncertainty in ireland. their work addresses important issues at the heart of where we are now: contested and hidden histories, effects of the global financial crisis and the radically altered social and physical landscape. the ten artists in uncertain state go beyond surface readings to reflect emerging concerns inpost celtic tiger ireland: the treatment of asylum seekers; institutional abuse; sexual abuse; emigration; the effects of the property crash; identity; disadvantage & marginalisation; and the legacy of conflict. asylum archive documents the housing provision for asylum seekers around ireland in the series direct provision hostels; eoin o conaill’s new work reprieve surveys green field sites saved from planned development by the property crash; doug dubois compelling body of work my last day at seventeen offers a somewhat fictional documentary account of adolescence in cobh, cork; david farrell’s an archaeology of the present records the topography of post crisis ireland; kim haughton’s sensitive investigation of child abuse - in plain sight - presents powerful collaborative portraits of abuse victims; paddy kelly’s bogland photographs of ira training sites reflect his attempt to emotionally identify with his father while addressing issues of identity, memory and place; lauren mcgookin uses photography to gain an understanding of her own community’s loyalist culture in her series tales and whispers; paul nulty charts his mother’s experience as a returning emigrant attempting to settle again in the midlands in his series i’m looking at our place; pete smyth revisits his portrait of people in his own community in tallaght after a period of 21 years in his series a view from the dearth; una spain records poignant traces from st. brigid’s de-commissioned victorian institution for the mentally ill in ballinasloe. website: galleryofphotography.ie
from the series: collages / mange / la face / la main et l’enfant
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contents / madame peripetie / aliki braine / jens ullrich / sebastiaan bremer / daniel gordon / laetitia molenaar / thomas devaux / matthew brandt / reiner riedler / melinda gibson / lauren marsolier / yang yongliang / julie cockburn / heather cleary
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