Born in 1980 in a small town in France, I now live and work in Paris, France. After long dreams as an architect, then as a designer during my childhood, I finally turn out engineer. Only years after, will my shy fascination for the camera of my father take the lead: in 2007 I start as a self-taught photographer.
First exhibited in 2008 in the context of the first Affordable Art Fair by Parisian gallery Art & You, my photographs of staged scenes are rewarded by the 1st price for European Festival of Nude Photography in 2009, followed up by an exposition at gallery NKA*/Pascal Polar in Brussels, Belgium. The new photographs of this body of work are awarded in 2001 at the Px3 Price of Photography and displayed at Espace Dupon in Paris, France. My most recent pictures in this field will then again be rewarded in 2013 with the same price.
In parallel, my work about the abandoned island of Hashima is exhibited in Paris and London at the Horse Hospital in 2010 as “special favorite” of the Still In Motion exhibition. Such researches on artistic reports brings me to the Transsiberian train in 2011, and in 2013 I take a trip in immersion in Greenland up to the most north-most settlements.
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9288 km, the theoretical distance from Moscow to Vladivostok in the Transsiberian train. A 146-hour trip, running on 8 days without stop, shot from the window. With more than 1h of time difference added each day, the train slowly turns into a human being of its own. With the clocks always set to Moscow, the time perception shifts and the landscape and the stations pass by the windows: from the frozen planes and forest of Siberia, to the steppes along the Mongolia borders, and the great Lake Baïkal, the journey takes place with passengers and their stories.
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To view more of his work please visit his website.
9288 km, the theoretical distance from Moscow to Vladivostok in the Transsiberian train. A 146-hour trip, running on 8 days without stop, shot from the window. With more than 1h of time difference added each day, the train slowly turns into a human being of its own. With the clocks always set to Moscow, the time perception shifts and the landscape and the stations pass by the windows: from the frozen planes and forest of Siberia, to the steppes along the Mongolia borders, and the great Lake Baïkal, the journey takes place with passengers and their stories.
To view more of his work please visit his website.
Spectrum
Nevermind On My Mind
Left Down Right Up is a visual mixtape of my surroundings experienced on daily walks. I am
interested in creating disparate images that are interconnected through the exploration of the
decaying present. The photographs are a memory landscape that focus on spontaneity and the
pure joy of seeing.
Green Grass and Purple Steps and a Used Cigarette 
Lemon Lemon Lemon Jordan Lemon Lemon
Everything Has/Everything Will
Huh
Food Court Dragon
Frogs Frogs Frogs
Flower Grid
Trashbag
Somewhere Sun Rises 
Bigger on the Inside
To view more of Bobbys work please visit his website.
"It is said that a photograph can stop time. When pressing the button, movement of a shutter allows only a defined amount of light to touch a photo sensitive surface. There, a picture is formed and a slice of time is preserved in a photograph.
The movement of earth around the sun controls the amount of light that hits the globe. The planetary system is as precise as a shutter of a camera. If I think of myself being in the position of a photosensitive material, by moving along the longitudes I can define the daily amount of sunlight that enter my presence. By moving myself I can function as a shutter does – control the light.
I set off on 26 March 2011 from the latitude N 45° 54’. After nine days, I was 2 000 km further south, at N 29° 42’. Travel compensated the increment of the length of the day, meaning that every day of my travel had exactly the same length, 12h 24min 7s. As if the same day was repeated again and again and the time had stopped."
For more information on Maija and her work, please visit her website.
Flora autóctona del campo volcánico (Native flora of the volcanic field), 13,14 (2013)
Los dos cerros de Ometepe (The twin peaks of Ometepe), 2013
El dueño fuí de mi jardín de sueño / lleno de rosas y de cisnes vagos (Lord was I of my garden-place of dreams / of heaping roses and swan-haunted brakes) [Rubén Darío, 1905], 2013
The Mountain is Something More than a Vast Green Expanse
The Masaya Caldera in southwestern Nicaragua is one of the most active calderas in the world. While still in its formative years, Spanish conquistador Francisco Bobadilla climbed to the top and christened it La Boca del Infierno [The Mouth of Hell], leaving behind a small wooden cross to exorcise the surrounding landscape. Four centuries later, the site was re-christened Nicaragua’s first National Park by (then) dictator Anastasio Somoza, on the eve of the decade-long Contra War.
The Mountain is Something More than a Vast Green Expanse is an on-going effort to trace the contours of the geological and social history of the Masaya Caldera, making visible the points of intersection between science, politics, and aesthetics within the land. Like the crater itself, significant facts tend to shift and erode, covered up by new layers and stories – which will themselves, in time, disappear.
Patio, Cárcel XXI (Courtyard of Cárcel XXI, Somoza-era prison), 2013
Fauna autóctona del campo volcánico (Native fauna of the volcanic field), 2013
Retrato de Augusto Sandino, proyectil Howitzer, imagenes de la Revolución (Portrait of Augusto Sandino, Howitzer shell, images of the Sandinista Revolution), 2013
Flora autóctona del campo volcánico (Native flora of the volcanic field), 1,2 (2013)
Almohada, propiedad del estado (Government-issued pillow), 2013
Boca del infierno (Mouth of Hell), 2013
San Arcángel Miguel (Saint Michael the Archangel), 2013
Flora autóctona del campo volcánico (Native flora of the volcanic field), 7,8 (2013)
Cruz de Francisco Bobadilla (Cross of Francisco Bobadilla), 2013
Isla de Ometepe (Island of Ometepe), 2013
To view more of Emily's work please visit her website.
Made in China
The communism is still here. It’s absolutely different from what you may have seen in the USSR – the downtowns teem with skyscrapers, the smog covers the civilization, expensive cars, rich people… But there’s still a smell of a big disaster here, there’s despair in the air.
As you turn from the main street into a little lane, you find poverty all around. People sleep on sidewalks, they beg for change, diseases crawl from one to another. Everybody has to work from dawn to dusk to make the living. The real and unsparing communism crawled into their lives and won’t let them go.
1.5 billion people, a country full of weirdness, poverty and nevertheless happiness, when people smile even though facing unknown communistic future. A country that is different from any other place on Earth.
To view more of Pavels work please visit his website.
Introduction by
The Editors
Essay by
Robyn Day, Clara Ma
Featured Artists
Magali Duzant
Daniel Kukla
Caleb Charland
Jay Gould
Travis Hocutt
Robin Myers
Curiosity Rover
Details
8.25"x11.75", 64 pages, Perfect Bound
Printed In Hong Kong.
Edition Size 500
Preorder!
––––
Issue No.7 : Beyond Here was made with the following quote in mind:
“I am trying to convince people--not only the public, but lawmakers and people in power--that investing in the frontier of science, however remote it may seem in its relevance to what you're doing today, is a way of stockpiling the seed corns of future harvests of this nation... Advancing a frontier--history has shown--has advanced a culture ever since the industrial revolution got underway.”
- Neil deGrasse Tyson
This issue will be shipped in late January and is now available for pre-order. Reserve your copy today!
A Find
Cloverdale
About Home
The idea of home is something that everyone seeks throughout his or her life. Each individual collects these ideas of familiarity with objects, relationships and experiences that shape their understanding of the word “home”. Along this journey, many people collect objects that remind them of certain phases of their life. These tangible objects can bring back memories that add a piece to the puzzle in finding home. About Home is an observation of my life and the experiences I have collected over the last 20 years. I have carried these experiences with me to each house where I have lived in the form of memories and objects. These objects are captured and paired with images of my current house and show the continued journey of seeking true home.
Salty
Weighted Thought
Rings
Where You Were
Emma
Noon
Glen's Cherries
Ed
Puddle
To view more of Shelbys work please visit her website.
Braid, 2013
Glory Hole, 2013
Fragments
Throughout Fragments, I focus on how memories become abstracted and distorted over time. When one considers the past, their memory of a certain person or place is often fragmental. However, people can remember certain distinct qualities about an individual or a particular place. Time passes, recollections fade and become broken down into simple forms, shapes, and patterns. These forms are what hold memories together. Photograph’s provide people with the ability to recall a particular moment in time. But are memories stronger than photograph’s? Through this continual process, I first re-construct and then deconstruct personal memories. Negative space distorts the original image, creating an ambiguous graphic form. Each image becomes fragmented, similar to the nature of old memories.
Circle Study, 2013
Nipple, 2013
Space, 2013
Self Portrait One, 2013
Masked Woman, 2013
Untitled, 2013
Self Portrait Two, 2013
Dissection, 2013 
Self Portrait Three, 2014
To view more of Patricia's work please visit her website.
Riding The Line
Cowboys and the landscape of the American West
The landscape of the American West is some of the most spectacular there is, to see this land and witness its magnificence and diversity can be a humbling experience. Ever since settlers migrated to the west, cowboys have raised cattle and worked the land. Over the years the cowboys’ lifestyle has led to the creation of a mythical character, often stereotyped as a romantic hero or a hard drinking & brash troublemaker. I wanted to look at the role of the contemporary cowboy and his relationship with the land, to examine how the land provides a perfect backdrop for individuals at one with nature, and how the peace & tranquillity of the landscape mirrors the temperament of the cowboy.
During the yearlong project I visited 45 different ranches in 12 states. The images enclosed are a selection taken from a final edit of 95 and were taken with a 6x6 film camera.
To view more of Peters work please checkout his website.
"Homoeroticism is embedded in physical culture. Renditions of this embedment have appeared in every art form throughout history. Greco-roman marble sculptures present us with a physically perfected male form. Classicist paintings elongate and exaggerate the male physique. This inherent eroticism in physical culture is as present in contemporary discourse as it has been centuries before it. I find these displays of homoeroticism a paradox. They are representative of a heteronormative masculine ideal yet they are quintessentially homoerotic in my eyes. This homoeroticism is on display in museums, educational institutions, public venues, etc. This content is often disregarded as a platform for sexuality. I choose to use wrestling as a contemporary example to display alongside these works. Wrestling is homoerotic. Positions are physical. Players pin, grab, and wrap their bodies around another in order to win. The male physique is shown off by one-piece, tight-fitting spandex and nylon singlets. Body types are often in peak physical condition. Wrestlers hold strong admiration and veneration alongside each other. Wrestling has a fundamental relationship with arts and culture spanning for thousands of years. When approaching this content I see the eroticism that is on display. Framing these pieces in a specific way allows the erotic content already present within the content to then be explicitly drawn out. My work allows for sexuality throughout history to be questioned and to facilitate contemporary conversations in regards to it."
For more of Ben's work, visit his website
Beach 2050
I Had a Dream Where People Were Falling from Scaffolding on a Building
ICE SKANNER
This is how I see stuff.
It’s the easiest way for me to explain it. I like spray paint. I have been obsessed with patterns lately so I have been using them in my work. I have been making a lot of digital designs trying to find color and shape within those things. The pictures I have been making stemmed from an interest in product photography and now I think they are coming from my interest in art. I am a thief. I have been stealing all of my ideas from everything around me.
Mirror House Shit
Wooden Box
Juice
Wyte Pikket Fence
Kan Spray
OH,
To view more of Douglas' work please visit his website.
We are exited to announce that we will be attending Printed Matter's second annual LA Art Book Fair, from January 31 through February 2, 2014, at The Geffen Contemporary at MOCA. An opening will be held on the evening of Thursday, January 30.
The event is free and open to the public, the LA Art Book Fair is a unique event for artists’ books, art catalogs, monographs, periodicals, and zines presented by over 250 international presses, booksellers, antiquarians, artists, and independent publishers.
This year we are sharing a booth with MOSSLESS and Empty Stretch! Come by and check it out!
Event details :
Thursday January 30, 2014 - Sunday February 2, 2014
Printed Matter's LA ART BOOK FAIR 2014
January 31- February 2, 2014
Opening: Thursday, January 30, 2014, 6–9 pm
The Geffen Contemporary at MOCA
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.
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.
The Hill of Restless Wolves
In 2007, a year before the global economic crisis was to appear in Iceland, the works to create in Úlfasfell area an urban complex of large single-family houses were developing apace. The workers, machinery and construction material in many cases were paid with credit from the now infamous Icelandic banking system. The beneficiaries of these loans were ultimately the companies and individuals working in their self-financed new homes. However, nothing seemed to suggest what was to come. The fall of the following year the nation would occupy a place of importance on the covers of international media following the outbreak of the credit crisis and the subsequent popular uprising would end, at least for a legislature, with the political power of the right in the country.
The current state of the neighborhood of Úlfarsfell ("Wolf Hill" in Icelandic) is connected one way or another with these events. The area seems to some extent a town where people try to return to normal after the devastating consequences of war. Children build their huts with work material, the construction work taking place slowly here and there and the brand new recently completed chalets necessarily coexist with rubble and disused cranes. Some of the locals just get home, bought at a bargain price taking advantage of the bankruptcy of its former owner. Others enjoy long views of the valley and the local football field from their spacious newly finished homes. A few have been forced to start living at home still unfinished because of the rise in mortgage banking.
Ultimately this work intends to raise questions about the bidirectional links between the individual and his environment, and induce reflection on the dominant values in countries with free market systems and class aspirations in that context.
To view more of Davids work please visit his website.
Distant Storm
Bat Cart
The Truppe Fledermaus & the Carnival at the End of the World.
Kahn & Selesnick’s latest project concerns a fictitious cabaret troupe, the Truppe Fledermaus, who travel the countryside staging absurd and inscrutable performances in the abandoned landscapes beyond the town’s edge. To create this ‘Theater of Memory’, the Truppe are as apt to commemorate the passing of an unusual cloud as they are to be found documenting their own attempts to flee the rising waters of a warming planet, or using black humor to comment upon the mass extinction of bats or other animals. The original Memory Theatre, as conceived by Giulio Camillo, reduces the audience of the drama to a single member, placing them on stage at the center of the proscenium arch, whereupon they gaze out into the amphitheater, using the performance taking place there as a mnemonic device to deconstruct the world around us; in addition to using this concept address ecological themes, Kahn & Selesnick also use it as a metaphor for the manner in which seemingly inexhaustible quantities of information are disseminated to us in the modern world.
Bat Procession
Dust Bowl
High Water Marks
Apocalyptic weather is documented to the point of extinction; we are bombarded by endless images of our own virtual lives, constantly rebroadcasted to us over our various devices. So the Truppe travel on, performing for nobody, advertising their performances through posters and handbills, performances that never happened, an endless preview reel for a mock-life that never was, for a film that does not exist. Also contained within the memory theater is a fragmentary memoir of Kahn & Selesnick’s own relationship, as told through lightly veiled doppelgängers and situations (is our world inhabited by any creatures other than doppelgängers or avatars?), offering a rare glimpse of the collaborator’s working life, and quite frankly, their neuroses and sometime disfunctionality! All this is offered to the viewer as an incomplete novel-in-progress, perhaps found in the attic of the Memory Theater itself (is the author deceased?) that may either be enjoyed for its lush surfaces and visual inventiveness, or delved into at length, quite possibly at the viewer’s own peril!
King Of Weeds
Plague Doctor
Prophet of the Ditch
Rider of the Apocalypse
Rope Man
Voyage of Greenman
Gallery View :
Their current work features the recreation of the famous Truppe Fledermaus's Memory Theatre of 1932 with its full complement of Batfolk, Greenmen, Rope-Slingers, and Death-Dancers in all theirCarnivalesque glory. Kahn & Selesnick have participated in over 100 solo and group exhibitions worldwide and have work in over 20 collections, including the Brooklyn Museum of Art, the Philadelphia Museum of Art, the Houston Museum of Art, the Los Angeles County Museum of Art and the Smithsonian Institution. In addition, they have published 3 books with Aperture Press, Scotlandfuturebog, City of Salt, and Apollo Prophecies.
To view more of Kahn & Selesnick's magical work please visit their website.
Tank II
Finding Grounds
Sister Shifter
Lottery Lot
Andrew Lying
Stand Still So I Can Look At You Closely
Two By Four
Untitled
The Un-Valley
Taylor Turning Red
To view more of Jackie's work please visit her website.
Michael
Michael is a subjective investigation into the life of Forest's uncle, a gay man and artist who was found dead at the base of a rock ledge in June 1985, just as AIDS was entering the gay male conscience. Michael’s presumed suicide occurred soon after the arrival of widely available HIV antibody tests, and just one month before actor Rock Hudson publicly acknowledged his battle with AIDS, an event that catalyzed a shift in public thinking around the mysterious disease.
Forest's work is an endeavor to comprehend events and experiences lost to the past or augmented through oral history and myth making. In this project, he restages history in order to imagine the challenges, as well as moments of reprieve, for gay men living in rural Massachusetts prior to his uncle’s death. He combines ephemera, disparate symbolism, and cultural reference to emphasize difficulties that Michael faced while attempting to reconcile conflicting aspects of his identity.
This series of photographs, sculpture, and installation is a rumination on the questions that arise in the wake of untimely passing. Forest’s revisit of history speaks more to the desire to envision intangible events than to an attempt to document a constellation of facts. He engages in the staging of dreams and speculative experiences, as well as the reenactment of memories, known events, and parallel histories.
To see more of Forest's work, visit his website
A Monograph a week! Today we would like to highlight the monograph by photographer Daniel Gebhart de Koekkoek published by Kehrer Verlag in late 2013 titled, The World We Live In.
Daniel Gebhart de Koekkoek started his career in 2006 and worked as an intern with Magnum Photos, NYC in 2008. He is currently based in Vienna, Austria and has worked for renowned magazines like VICE, Vanity Fair, Monocle, Travel+Leisure, The Financial Times, Zeit Magazin, SZ-Magazin and clients including Apple Inc., Mercedes-Benz, IBM. His work has been included in several independent art publications and exhibited throughout Europe, Asia and The United States.
The World We Live In is beyond beautiful. It was listed as one of the best photobooks of 2013 by ilovethatphoto.net. The book is well designed. It features full bleed layouts, a lay flat cover design and the overall print quality is what initially caused us to fall in love with it.
Title : “The World We Live In”, 2013
Size : 23 x 30 cm
Page Count : 160 Pages
Publisher : Kehrer Publishing
ISBN : 978-3-86828-470-6
*Includes limited edition A4 Print*
Order Now
Slight Wounds
Slight Wounds channels the paintings of the renaissance. Their statuesque depictions of bodily perfection in the classical female gods have a simplistic purity as well as a romanticised idealism. They show their subjects as almost inhuman – as mythical immortals.
Stylistically and technically Slight Wounds recreates this, from composition and form to light and colour. However the women depicted are not Gods. They are, to use the vernacular, ‘real women’, with their scars, stretches, bruises and cracks there in detail to be seen by all. The detachment of the sitters’ heads and faces emphasises this, removing our capacity for relation or empathy, giving us no option but to scrutinise and find beauty in the body as an object. Somehow this also reveals some essence of their character in a way a portrait would only obscure. This raises them above the human - placing imperfections upon an altar and making gods of the truth.
To view more of Sophie's work please visit her website.