“Modern societies attempt to understand and explain the mysteries of nature through various tangible human lenses such as science, technology, painting, literature, photography, etc. We also do so through more abstract methods such as “…intangible, metaphorical tools of the mind – contrast, remembrance, analogy…” And in both cases we “bring our own worlds to bear in foreign landscapes in order to clarify them for ourselves.” (Barry Lopez, Arctic Dreams). In other words, we convince ourselves that these anthropological devices lead to understanding. But try as we might, our interpretations, theories, reproductions, and commentaries of the natural world will never truly do it justice. Through our various strategies, we impose and accept “rules” of nature as factual knowledge (space and time, up and down, close and far, light and dark, solid vs. liquid/gaseous, etc). And through these arbitrary conceptual binaries, we deny its’ overwhelming mystery.
As an artist, I recognize that I’m guilty of this as well. I paint symbols and tropes that we comprehend as landscape; mountains, sunsets, etc. But I relish the mystery of the natural world, and I’m curious what happens when we view nature through a lens that breaks the rules of our understanding. In my work, rules of perspective, distance, and light are bent. Space can become a solid object and places are folded on top of one another. Millions of years are compacted into a single instant and rocks become fluid. I strive to present a moment that defies human intervention in the landscape, and pays homage to the potential in the inexplicable.”
“In all of the art forms that I pursue I strive for excellence. As proper diction is to a great speaker, so technical skill is to me as an artist. But, a great communicator does not repeat annunciation drills when he takes the stage rather, he conveys compelling messages and articulates profound thought. So it is with me and my art. I use the skill in my hand to express the thoughts of my mind and the yearnings of my heart. A good artist is one who has a voice of his own, but a great artist is one who is the voice of those around him.
Through my art I have the ability to identify those common passions, struggles and truths that we all share as humans. I can enlighten the soul through the eyes to the beauty it has grown jaded to. A work of art has that rare ability to be the perfect silent facilitator to conversation. In a world that is flying by, it stands still and constant for all time; preserving within it each thought it conveys. If my art is to be timeless then the truth expressed through it should be timeless as well.”
Jake Weidmann is one of eleven master penmen in the world.
“Tomasz Gudzowaty was born in 1971. He obtained a degree in law at the University of Warsaw. Among his interests are humanistic photography and the classic form of the black and white photo-essay. He began with nature photography and then turned to social documentary and for the last few years he has been focusing on sports photography. He is particularly interested in non-commercial sports, and also those that are not present in the media, sports that are exotic, atypical or somehow outside the mainstream. His photos have been published in Max Magazine, L’Equipe, The Guardian, Newsweek, Forbes, Time and Photo and he is also the author of several albums. He is a multiple winner of the most important photography contests, among others the World Press Photo, Pictures of the Year, NPPA Best of Photojournalism. He cooperates with Focus Fotoagentur in Hamburg and Warsaw’s Yours Gallery.”
via [500 Photographers]
Konstantin Kalynovych was born on August 9th, 1959 in Novokuznetsk city, Kemerovo region (Russia). He studied at the Ukrainian Academy of Printing and was elected an Associate of the Royal Society of Printer-Printmakers in 1992.
via [but does it float]
“Works exploring process, time and materiality under varying rule systems constraining the overall composition’s execution. Drawings often created with one whole charcoal/graphite pencil where the entire pencil is used up on the page.”
(Simon Massey di Vallazza)