Allyssa Yohana is an artist and photographer living in New York City, originally from NOLA. (New Orleans, Louisiana) Allyssa is on the staff at ROOKIE, a website encouraging female teen empowerment. She frequently contributes her incredibly intimate and personal photo stories in their magazine and on their website. Allyssa attends the School of Visual Arts. ![]()
This work documents the intimacy with the photographer's family and close friends. She explores her role as a sister, daughter, and friends through the lens of her camera and the images used to memorialize those relationships.
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For more about Allyssa contribution to ROOKIE, click work here.
This work documents the intimacy with the photographer's family and close friends. She explores her role as a sister, daughter, and friends through the lens of her camera and the images used to memorialize those relationships.
For more about Allyssa contribution to ROOKIE, click work here.
North Roots
Most of my portfolios are constructed like stories. North Roots tells the one of a lonesome journey, split up by meetings in the north of Sweden till the Norwegian frontier.
For more information please visit his website.
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The Susquehanna 2012
In the Course of Time.
With four separate, but closely related series, my work references subjects both elemental and deeply familiar: fire, land, the night sky, the empty room. Through use of minimal, subtractive form the viewer is invited to compose the remainder of the image themselves. In this way our experience of the work becomes at once universal and deeply personal – an exploration of the line between physical space and our psychological relationship to it. Whether an image emerges slowly from the dark or is dominated by light, these photographs convey a sense of place where past, present and future are collapsed into a single state of time. In this way, spaces of personal, shared or historical significance are transformed into places of spiritual significance. Something both intimate and sublime operates within these images, transporting us to a place outside of place, a time independent of time. This feeling of eeriness, of otherness speaks to a truth hidden behind everyday observation – a sense that what colors our experience is not merely a landscape, a room, a night sky, a flame, but something greater; something more.
Gettysburg, Pennsylvania 2012
Donner Lake 2013
Cathedral Rock, Yosemite 2012
Dixville Notch, The White Mountains 2013
Flame V. (24 Minutes) 2011
Flame IX. (9 Minutes) 2011
Flame III. (13 Minutes) 2011
Whole Night: July 15-16, 2011
Whole Night: October 1-2, 2011
Whole Night: July 14-15, 2011
Frederic Church's Studio, Hudson, New York 2013
Bedroom, North Andover, Massachusetts 2012
Yosemite Chapel 2013
Visit his website for more information.
Girls in Uniform
Girls in Uniform is an ongoing work that considers the idea of group verses individual identity and the degrees of solitude or connection that lies within that dichotomy. Kat is looking critically at the social and political components in the contemporary portrait of American women today.
To see more of Kat's work please visit her website.
Makoro
This series of images was shot in June and July of 2013 during my stay in Botswana. With the help of a travel grant from Virginia Commonwealth University, I went to Botswana with the intent of learning about the influence of American Peace Corps in the country and creating a body of work. I decided to do some volunteer work with the director of Art Education at the University of Botswana, Dr. Kelone Petersen, who runs a non-government funded organization called Springboard Humanism. Through her influence I was better able to learn about Motswana culture, the country's peaceful history and its forthcoming developments.
Breakfast
University of Botswana
The Mule
Portrait of the President 
Koketsho
Vultures
Maun
Untitled
Peter's Lemon
At the Fair
Warona
To view more of Inga's work please visit her website.
Neumayer Station II
In stark contrast to the harsh reality of surviving Antartic is its striking natural beauty. In among all that freezing white are beautiful textures and strange natural patterns that seem to mask the underlying danger.
To see more of Lars' work please visit his website.
Railroad Landscape
“He knew at once he found the proper place. He saw the lordly oaks before the house, the flower beds, the garden and the arbor, and farther off, the glint of rails..." -Thomas Wolfe
A common theme in my work is the contextual depiction of structures that imply movement.
Space changes around rail lines that remain generations after their construction, places retaining a quality of transience and continual movement. The tracks flow into the distance or cut across a picture, leaving us in wonder; and yet their confident line anchors one to its path. Once bustling depots sit forlorn, objects of aesthetic pride became forgotten white elephants. Elsewhere, tracks flow through immutable mountain passes.
These images are a metaphorical depiction of the railroad spirit that has imbibed the American psyche since its inception. The railroad has often been seen as an avenue of hope, loss, beauty, redemption, and so on. As a document of the contemporary railroad and a realization of Form between a rail line and the environment, these images are couched in a use of light, color, weather and shape that attempt to give the pictures a flickering, temporal quality -- the allegorical representation of movement.
To view more his work please visit John's website.
Motohiro was awarded the Tierney Fellowship Grant in 2008. His work has been exhibited in various venues including New York Photo Festival in Brooklyn, Photo España Descubrimientos PHE 2010 in Madrid, Spain, Camera Club of New York, Houston Center for Photography, Center of Photography in Woodstock, Philadelphia Photo Arts Center, Rayko Photo Center in San Francisco among others.
To view more of Motohiro work please visit his website.
Searching for Karachi is a body of work resulting from a short trip to Karachi, Pakistan. I first
visited Pakistan in 2004, a time when neighboring countries were fraught with ongoing wars
and despite there being an obvious influx of refugees I never experienced any sign of
potential dangers or knew of any reason to be concerned for my safety or my possessions.
Since this visit in 2004, Karachi has been headline news for many different issues that trouble
the city; sectarian violence, target killings, riots, corruption scandals and gun crime. When I
returned in June 2012 I set out to see the realities of everyday life, these photographs
disturbingly reflecting the popular opinion that Pakistan’s most important city is on a
downward spiral on course to end in mass bloodshed.
The images in this series are part of a larger body of work which represents experiences that allowed me to be in some unusual places and meet some amazing characters; Abdul Sattar Edhi (a living saint), the MQM political party supporters only minutes after being targets of an attempted drive-by shooting, Pakistan’s largest morgue half full, gun shops selling military spec arms and ladyboys who
cast spells.
To view more of Daniels work please visit his website.
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Vegas
This collection of photographs was made in May 2008 on the four-mile stretch of Las Vegas Boulevard in Clark County, Nevada commonly referred to as the strip. The photographs were taken in a range of casinos – from the oldest remaining casino on the strip, the Flamingo, to the new complexes, such as the Bellagio, Caesar’s Palace, and the ESPN Center.
To view more of their work please visit their website.
Man and concrete slab.
Regjeringskvartalet
Mind your Business
This project sparked from the interest in working with photography as a way to push cinematic directorial techniques and stage directions into the realm of the non-narrative, where I believe they are useful in the representation of the self-consciousness of non-actors. I believe that the sense of self is always mediated by the understanding of another perspective which perceives you, never allowing you to perceive yourself directly. Using video and film proved to be ineffective at a very early stage of the project as I noticed that the linearity of the time-based medium evaded the pictorial as it embraced the narrative. “Stage Business” is an important principle of realist acting, where thespians devise unscripted purposeless actions, that by their lack apparent of significance become the very descriptor of realism. In contrast to the constructed photographs the purely documentary still lifes present in the series are set as an experimental counterpoint with the intention of transforming the way they will be read side by side when juxtaposed with more constructed imagery.
Daughter and Mother
Marine Garage
Woman and Tree
Boy fixing bicycle.
Children Playing
Man Retrieving Drink
Man With Jug
Coquitlam, BC #2.
1155 Haro Street.
Street Sweeper
In 2011, Manuel moved to Vancouver to major in Film and Video at Emily Carr University of Art & Design. Here, he would draw influence from his professors Stephen Waddell and Jonathan Tammuz. In late 2011, Manuel completed work in the art department of the short film ”Afternoon at Gudrun’s”, a film by Javier Badillo that was screened at the Cannes Film Festival. In 2013, Manuel directed the short film ”The Mayor’s Corpse”, which will be entering the festival circuit in late 2013. Currently Manuel is directing “#ArtOffline” a Feature Documentary about fine art and its intersections with the internet and digital media, a piece featuring artists like Roy Arden, Geoffrey James and Jessica Eaton.
To view more of Manuels work please visit his website.
Inheritance
Clothing, bottles, appliances – relatable objects that serve as the basic accessories of daily life, schematically arranged to form a visual inventory of one man’s possessions. The Inheritance project is an exploration into ideas of legacy, identity, and impermanence, of what we leave behind and how that defines us. At the same time, it is a deeply personal documentation of the artist’s mourning process following the passing of her grandfather. By rearranging the objects that filled his home into pictorial compositions to assert her own presence as an artist, Tese authors a chronicle of a life as expressed by simple objects, ranging from those unique to the individual subject, such as a collection of paperweights or newspaper clippings including those about Tese herself as a child, to pedestrian items such as shoes or pots and pans. Despite the potential sentimentality of the project for the artist and her audience, Tese’s photographs are abstracted by her deadpan treatment of the subject matter, organizing the items into grids, piles and sometimes playful arrangements that allow the objects to be assessed individually as well as en masse by the audience.
When viewed together, the images form a posthumous portrait of the deceased that allows the viewer to “know” Tese’s grandfather, just as her categorization and presentation of his belongings speak to the artist’s practice and style. These photographs function simultaneously as an acknowledgement to the ephemeral nature of life and as an indulgence in man’s unwillingness to give in to this understanding – his desire to arrest time, to counter anonymity, to leave something behind, to be immortal.
Her fine art photography has been featured in industry publications such as The Photo Review, American Photography, Exposure Magazine, Phillips du Pury’s phillipsartexpert.com and The Visual Arts Journal. Her multimedia installation work and video art was shown ar IUFF film festival in Milan in 2013, The Big Screen Project in New York in 2011 and Miami Art Basel in 2010.
Tese’s editorial work has been featured in The New York Times, T, Whitewall Magazine, CREEM,
Foam Magazine, as well as international editions of Vice, Vogue, Harper’s Bazaar, Esquire and
Cosmopolitan Magazines. In May 2009 Tese was presented with the Young Innovative Award by the National Arts Club, as well as the Gold Medal award, the highest honor bestowed by the club.
To view more of Andrea's work please visit her website.
To view more of Jackson's work please visit his website.
Coney Island Malibu Beach is available for purchase here.
Métier
Métier, Small Businesses in London, is about small-scale independent and specialist businesses in the capital and the people who run them. In a time when the high streets of London are taking on a more and more corporate character, this work offers an unusual and interesting perspective on the city and an insight into the working lives of people who strongly identify with their occupation. Laura's subjects are people whose lives have been shaped by their long-term involvement with their line of work and business. And the photographs of the spaces they work in provide fascinating details about their everyday working routines. The project was published as a book in Dec 2013 through Paper Tigers Books. Alongside photographs of 25 businesses and their owners the book includes a short text about each of them as well as an afterword by sociologist Dawn Lyon.
To view more of Laura's work please visit her website.
To purchase this book.
My artistic practice focuses on generating alternate modes of representation by isolating and exposing various aspects of sensory perception, using photography to create images outside the spectrum of human vision. This series, titled Slow Light, addresses the phenomenon of afterimages – the latent imagery that remains on our retinas after we look at the sun or at bright objects in the dark. Using handmade artificial retinas that register the remains of light, I am able to simulate an essentially unphotographable visual experience.
Afterimages have a transgressive quality that appeals to me. They appear when we use our eyes in ways that we shouldn’t - by staring at something too bright or holding our gaze for too long. When I first moved to Louisiana, I was struck by the appearance of oil refineries at night, which looked like strange forbidden cities. Soon after I started to photograph them, I was stopped by the police and told that refineries are indeed “unphotographable” according to post-9/11 regulations. This experience heightened my interest in them as photographic subjects.
Keeping a low profile, I began to systematically document refineries up and down the Mississippi River, using the afterimaging camera to render them as ghostly, mysterious constellations of light marked by unearthly color shifts. For me, these images evoke both a presence and an absence. They are points along a continuum between strict representation and subjective abstraction, or between our immediate visual reality and the decaying, remembered imagery that subconsciously shapes our perception.
She has presented her artwork and teaching at both the College Art Association national conference and the Society for Photographic Education national conference. AnnieLaurie continues to pursue an interest in the construction and deconstruction of the visual world through an active studio practice in New Orleans.
To view more of Annie's work please visit her website.
Cactus
Tires
Desert Conquest
This body of work includes photographs taken in various deserts around the world. Locations include Israel, California, and even the world’s smallest desert in Maine. This project was inspired by the historical Israeli initiative to make the desert bloom into a lush and habitable oasis, a movement founded by Israel’s first Prime Minister. Rather than surveying the results of the Zionist initiative, Eban has chosen instead to highlight the desert’s universality, its frightening vastness, uncharted beauty, and most importantly its unique ability to surprise. The geometry of the formal landscape is contrasted by strange traces of life, making the desert appear ordinary yet peculiar, familiar yet enchanting.
Glass Factory
Everlast
Desert of Maine
Jeep
Oasis
Threshold
Date Gleaner
Stones
Boulevard
Sand
To view more of Yael's work please visit her website.