These event headlines are embedded in this single image, now symbolic of defiance against the brute force of state power. It is both the beginning and the end – the
Estelle Hanania is what I would consider a sort of phenomenological anthropological photographer. When I say this, I mean to consider her an anthropologist with a camera interested in regarding
“These dreams were a product of the IV missing the vein repeatedly and causing a beautiful shade of crimson, blues, fading to yellow just under the parchment-like encasement”. There would
I can imagine what it is to wake up in a city like Dresden the morning after being carpet bombed by Allied forces in 1945...
Thatcher was out, the false promises of Blair’s lying and callous maw was in. The 80's and 90’s were different.
"You have to be prepared to look in the ‘low’ places in our visual culture as well as the ‘high’. You have to be a rag picker as much as
“The House Project” by Roger Ballen and Didi Bozzini with Oodee publisher is by far the best Roger Ballen Book I have seen.
"This work is about something else, something more abstract. The function of the desert and Salton Sea in Lago is more psychological than political. " - Ron Jude
“For me I realised, in a way, within that period, ninety-eight/ninety-nine, kind of stepping back from fashion, realised what kind of a sense of power you have as a man,
“To not understand time or the chrono-contextualization of an image is to discover that our potential theories of pre-existing semiotic signifiers may be out of order”. By Brad Feuerhelm, ASX,
What once was is now that of accouterments of a lifetime wasted in the stable of senseless mediocrity. I type trying bitterly (perhaps) to formulate the playful hypocrisies of a
”I go to places and I have the belief that if I can photograph well, the places will educate me to things I do not know about them."