Juno Calypso (b. 1989) is a London based artist. In 2012 Juno received a BA in Photography from the London College of Communication, where she was awarded both the Hotshoe Portfolio Award and the Michael Wilson Photographic Prize. Since graduating Juno has exhibited work in London and New York, and has been published in Time Out London, Dazed & Confused, The Independent, Elephant, Blink, and The Sunday Times Magazine amongst many others. In 2013 Juno was shortlisted for the Catlin Art Prize, where she received the Visitor Vote Prize. Juno Calypso is now represented by the Simon Oldfield Gallery in London. ![]()
I recently began working with self-portraiture, which led to the creation of a character named Joyce. Within elaborately staged large format photographs I draw upon personal experience to perform critical studies into modern rituals of beauty and seduction. We find Joyce alone, consumed by artifice – trapped inside pastel coloured encounters with beauty masks, cream cakes and polyester negligee; her glazed appearance acting as a mirror to the exhaustion felt whilst bearing the dead weight of constructed femininity.
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For more information, please visit her website.
I recently began working with self-portraiture, which led to the creation of a character named Joyce. Within elaborately staged large format photographs I draw upon personal experience to perform critical studies into modern rituals of beauty and seduction. We find Joyce alone, consumed by artifice – trapped inside pastel coloured encounters with beauty masks, cream cakes and polyester negligee; her glazed appearance acting as a mirror to the exhaustion felt whilst bearing the dead weight of constructed femininity.
For more information, please visit her website.
Mo 2012
Young Hollywood
Young Hollywood explores the themes of youth, ambition and self-image. This series portrays young people in Los Angeles, pursuing their dreams. The opportunity 'to make it' is there for everyone..but only some will succeed. Hana started working on Young Hollywood last year and it is an ongoing project.
Larry 2012
Nikki 2012
Stephano 2012
Tiernan
2012
Barnett II 2012
Jesika 2013
Lucia II 2013
Marketa II 2013
Ohre 2013
Marketa 2013
Mo II 2012
Alex & Graham 2013
For more work and images from this series visit her website.
Russian Album
This is my Russian album - without words, about the roots
For more work please visit his website.
This series depicts the empty spaces of university buildings in Lodz, Poland. The emptiness atmosphere is set in opposition to the human creativity which can be clearly seen in photographed objects. Simple items such as coffee cups or pencils became constructive material for the human mind captured in a creative fever. We can sense that the spaces we are observing, just a small moment before were filled with people who tried to push their concepts to the next level. This series relates to the creative process and creative compulsion, which is locked in each of us – the objects are like scribble notes converted to three dimensional installations.
The series was produced in the National Film School in Lodz, Poland. Project is a collaborative work of photographer Paweł Fabjański and set-designer Zuza Słomińska.
View more of this work, including commercial works on his website.
Myths
Myth {μύθος}
A person having only an imaginary or unverifiable existence.
A story that is impossible to perform in reality, that only exists in imagination.
A false belief.
When you confuse your reality with your myth, you start to wonder where will that lead you
and if you dare to face the consequences.
In the end, you always have to choose.
A look, a crossroad, a reflection, a layered bed, a decision to ignore the truth, built my own
fictitious reality miles away from home.
For more information and work, please visit her website.
As people who habitually create and collect images we were all interested in the idea of starting a magazine. However the process of creating even a small amount of high quality original content is labor intensive, time consuming, and above all expensive. We wanted to have a global perspective but didn’t have the funds to do so, in a traditional way. So instead we worked with an alternative paradigm for content creation wherein the subjects of our stories also act as the authors.
From the outset we took a fairly open approach to the project, allowing room for ourselves to learn about the process. As we’ve received more contributions we’ve developed a preference for narratives rather than beautiful snapshots. We’re aiming to tell stories of individuals through compelling images, rather than just publish a bunch of good photographic work.
We look for interesting professions, unique locations, and honest stories from individual perspectives. These things combined with an eye for photography create strong spreads because they are engaging on multiple levels. We do get a healthy handful of random emails on a daily basis from individuals wanting to contribute. In addition we have an ongoing list of people we want to involve.
Images have become so easy to create over the last few years that we now find ourselves with an almost overwhelming amount of visual information. However the majority of these images do not occupy physical space, so as long as we are able to maintain reliable systems of sorting and filtering through, it is difficult to determine at which point it becomes “too much”. We’re happy to be contributing to this growing archive of visual information, and leave it up to others to decide how to use them.
For their anniversary next week, look forward to the images of:
-a stylish copywriter in Madrid, Spain
-a group of orphan boys in the Kibera Slums in Kenya
-a hair stylist in Paris
-the oldest fiddler's convention in the USA in Galax, Virginia
Here's a sneak peek of what to expect.
Check out more on their website.
DISPOSE is run by three NYC based artists: Bruno Levy, Alex Hollender and Arpana Rayamajhi.
BRUNO LEVY is a 34-year-old multi-disciplinary artist. After growing up in Paris, he received a BFA in photography from NYU in 2001. He concentrated on the moving image through various projects SquareSquare (formerly), and new media project Sweatshoppe (currently). Bruno currently lives in NYC where he continues to create works that deals with the relationship between audio and video.
ALEX HOLLENDER is a 24-year-old web designer and art director. After growing up in Vermont, he received a degree in Art History from Swarthmore College. An interest in fashion led him to found Create Build Destroy, and subsequently now works as the art direct for Onia. He lives in New York City, and works on various interactive design projects.
ARPANA RAYAMAJHI is a 25-year-old art student currently studying at The Cooper Union School of Art. Born and raised in Kathmandu, Nepal, she studied music theory and performed in numerous Jazz festivals. Arpana moved to New York in 2009 to focus on her studio practice. While her paintings and sculpture are rooted in minimalist abstractions and color theory, she has her own jewelry line, which on the contrary is an explosion of color and symbols from places around the world.
Yellow chair on butcherʼs paper, 2013
Artifacts
I recently spent time photographing throughout Japan. I was bewildered by their desire to protect and control the landscape. I often found trees wrapped in komomaki, a traditional straw wrapping meant to keep out pest. Or found them under the umbrella of a yukitsuri, meant to keep heavy snow from breaking their branches. This, seemingly, excessive desire to manipulate the landscape fascinated me. I began to think about the ways in which we all try to preserve and control objects, spaces and experiences of our own. I began to consider why and how each individual collects and manipulates items of personal significance. I began making photographs as a way to decontextualize and deconstruct the concept.
Much like an archeologist collecting artifacts, I have been collecting and cataloging my own experiences in an attempt to preserve them. For instance, Preserved eyelash, 350ZB00, was found in a box of items I was given upon my grandmotherʼs passing. In a small purse, I discovered the bag that held a single eyelash. I imagine it belonged to her.
Ice plant vs. Perfect match, 2013
Tomato plant revival, 2013
Repurposed tree bark, 2013
Preserved eyelash, 2013
Hotel hairbrush, 2013
Post shower hair, 2013
Swim cap with burn marks, 2013
Incoming tide on Itsukushima Island, 2013
Light under a Japanese Cherry, 2013
Room 601, Nagai Park, 2013
Light from Hotel Manhattan, 2013
Repurposed tablecloth, 2013
Unfolded origami [formerly a swan] , 2013
Unfolded rice paper, 2013
For more information, please visit her website.
There Swept out of the Sea a Song.
Where the subway ends and the sea begins – Rockaway is a community on the periphery, a narrow spit of sand that serves as New York City’s last buffer against the vast Atlantic Ocean.
For over a century, Rockaway’s remoteness made it a thriving summer destination for New Yorkers, from its heyday as “New York’s Playground” in the early 1900’s, to its years as a summer getaway for the city’s middle class. After WWII, the advent of affordable automobiles and air conditioning led to a rapid decline in Rockaway’s fortunes.
The area’s isolation and increasing neglect made it a convenient dumping ground for those displaced by the aggressive urban renewal programs of the 1960s, and soon a seasonal destination was serving a year round population. Entire blocks of bungalows were razed and replaced by housing projects, nursing homes and halfway houses. Rockaway quickly became known more for its high crime rate than its ocean views. In the past few years, Rockaway has been through a revival of sorts but was recently one of the areas hardest hit by Hurricane Sandy.
Through all these changes Rockaway has remained an essentially wild place. The sea - the sounds, the briny smell, the density of air and quality of light - dominates the landscape. In a city where the last vestiges of wilderness have seemingly been eradicated, nature here still has the upper hand. A subdued, often desolate landscape, Rockaway is a place in limbo, suspended between the city and the sea.
For more work by Rob, please visit his website.
Unknown Land
I arrived in Australia about ten years ago and like many before me intended only a brief stay, an escape from the northern winter which I had never fared well in. Very slowly, like a clump of moss, I became attached to this enigmatic place, drawn in by a curious sense of Jamais vu I encountered in its vast suburban sprawl. Like a model town built from memory, there is an idealised and dreamy quality to the urban landscape of Australia, the houses and gardens are just that little bit bigger, brimming with fruit trees and multi-coloured plastic slides. The crisp sunlight makes everything look fresh out of the box, as if it were put there just for my eyes. Yet something about the place has always been out of my reach just over the next roundabout, something that doesn’t entirely add up.
When Australia was colonized the settlers brought with them an image of home, which shaken and buffeted by the long journey was damaged, leaving fine cracks across its surface. So that when it was erected in its new location, parts of the proud and ancient land beneath poured through, changing this image into something quite different. These photographs are of those cracks.
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He has worked with a number of small press in France, UK and Australia to produce monographs of his photographs, including: 100 Flowers (LozenUP:Paris) , Unknown Land (Doubleplusgood Books:Bristol) and Bad Driving (Erm Books:Melbourne) , he has also been included in the photographic compendiums The Collector's Guide to Emerging Art Photography (Humble Arts:New York) and Hijacked II - Australia Germany (Big City Press: Perth).
To view more of Louis work please visit his website.
Stone Mountain, 2012
The Seven Natural Wonders of Georgia were originally compiled by the state librarian, Ella May Thornton, in 1926. Although the list has changed slightly over the years, today the Wonders are generally acknowledged to be: Amicalola Falls, Okefenokee Swamp, Providence Canyon, Radium Springs, Stone Mountain, Tallulah Gorge, and Warm Springs.
My work often deals with man’s relationship with the land: how we use, preserve, and classify it. In particular, I’m fascinated by the places that we have specifically set aside to preserve nature and the fact that places such as state parks and wildlife refuges have become necessary in order for nature to even survive. In this body of work, I used The Seven Natural Wonders of Georgia as a platform to explore these ideas.
These places are meant to be the most “wonderful” natural places in all of Georgia, however what intrigues me most about these sites is not the natural, but the artificial. From warning signs to guard railings, even to platforms from which to see the “best” view, man’s presence is clearly evident. It begs the question: How much is too much? Is man’s mark on these places a necessary evil in order to preserve them? When does man’s presence become so great that we no longer deem a place natural?
Tallulah Gorge, 2012
We recently had the opportunity to catch up with Caitlin and chat a bit about her work.
So...tell us a little bit about yourself.
I'm currently 22 and in my final quarter at the Savannah College of Art and Design. I was born in Milwaukee, WI but moved to Birmingham, AL at a young age. But I would definitely say my heart belongs more in the midwest than the south. My hobbies include eating pizza, rescuing stray cats, and collecting old issues of Nat Geo.
What was your original inspiration for "The Seven Natural Wonders of Georgia?"
I took a Contemporary Landscape course in the spring of 2012 and this work is a product of that class. We spent a lot of time discussing the role of the landscape in contemporary photography. In particular, we read John Szarkowski's introductory essay to American Landscapes which I drew a lot of inspiration from. I wanted to begin photographing the spaces that have intentionally been set aside to preserve nature and how through preserving them, we have also altered them. Through my research I just happened to stumble across the list of The Seven Natural Wonders of Georgia (which was originally compiled by the state librarian in 1926), and the idea of a predetermined list of "natural wonders" just seemed to push those ideas even further. I also intentionally shot the work with a view camera in order to further emphasize the way that man's impact has altered how we view these places.
Stone Mountain, 2013
How has the work evolved since you began shooting it?
Well I did a bit of a spin off series titled "Alabama, the Beautiful" in which I shot my own list of natural wonders in my home state of Alabama. While shooting that series, I became more interested in not only how people have altered these places, but also how they inhabit them. So I am currently in the process of revisiting "The Seven Natural Wonders of Georgia" work. It's been about a year and a half since I last photographed these places so it's been interesting to go back and see how they've changed and also how the way I make pictures has changed.
Okefenokee Swamp, 2012 
Okefenokee Swamp 2012
Providence Canyon, 2012
What most inspires your photographic work?
Honestly, I would say a little bit of everything, from other photographers' work to the things that I'm reading/watching/consuming to the conversations I have with people.
How long have you been working with the view camera? Why do you prefer working this way?
I've been primarily shooting with the view camera since I first learned how to do so at the beginning of my junior year at SCAD. I guess I just really love the formality of it and the process involved when working with it, and of course, the detail.
Warm Springs, 2013
Warm Springs, 2012
Radium Springs, 2013
Amicalola Falls, 2012
Amicalola Falls, 2012
How has your job as a gallery docent at the Gutstein Gallery and other SCAD galleries prepared you for your future as a working and exhibiting photographer?
It's been a great experience for me getting to work in a gallery and see the behind the scenes of what goes into preparing for a show. And it's been especially interesting getting to help prepare for shows in which I've also had work. It just makes the entire experience come full circle.
This is your last quarter at SCAD. What's coming up next?
As of right now, my plan is to stay in Savannah at least through the rest of the academic year. I'd love to continue working in SCAD exhibitions, but we'll see how that all plays out after graduation. Endgame, though, is to work in a museum/gallery setting, preferably in Chicago. And maybe get some grad school in there at some point.
Tallulah Gorge, 2012
For more information about Caitlin and her work, please visit her website.
Olivia, 2013
Coming of Age
Coming of Age is a series of staged photographs depicting my fantastical memories of life growing up in American suburbs. Each photograph is characterized by a model who portrays one of the many stereotypes I have encountered while navigating youth in a small town. Inspired by films and television shows that depict the "coming of age" theme, I combine my personal experience and observation to create a fantasy world relaying moments that most are familiar with. Whether conveying the feel you don't belong, depicting a character having a mental breakdown, or illustrating one who is the most popular girl in school, my photographs make tangible the phenomenon of growing up. Using color film and a thirty five millimeter camera, I create a dreamy, nostalgic mood that reveals the environment a young, anxious teenager resides in. Selective colors reflect my love for dramatic moments, as well as the film stills by which these photographs are inspired. These photographs not only reveal a great deal about myself, but also the quirky and heartbreaking moments one goes through in coming of age.
Carol, 2012
Caroline at The Window, 2013
Levons Glove, 2013
The Trunk, 2012
Lauryn and Emily, 2013
Joe, 2013
Danny, 2013
Joe Downstairs, 2013
Nikki, 2013
Kevin, 2012
Jamie and The Birds, 2013
Alex, 2013
For more information about Elena and her work please visit her website.
Golfer, 2011
Our Desert
The desert area of the United States had been thinly populated and was one of the last areas of the country to be fully settled. Now, it’s experiencing a large amount of immigration from other areas of the country. As such, it’s representative of how the United States is changing, and it provides clues for what this country might look like in the near future.
I view this area of the United States as almost another planet. An arid and generally waterless place that man has somehow managed to colonize through massive government expenditure and technological intervention. A place once found so remote that it was decided that nuclear weapons testing should occur here.
Car/Turbines, 2011
It’s a place where a person can attempt to fulfill their dreams, the emptiness of the land providing a blank template. Those dreams can be mundane or grandiose. It’s a place for a fresh start, the center of a new religion, a gambling mecca, a dwelling for retirees. And to some, it’s a lost Eden. It’s where the American Dream can be found with all of its complications, promises, and little victories.
Jay, 2012
Houses Behind Wall, 2012
Dune Buggies, 2012
Mining Truck, 2012
Fireworks, 2010
Missile Park, 2004
Uptown Plaza, 2009
Escaped Dog, 2010
Goat, 2007
Man at Rodeo, 2005
Mountain Near Death Valley, 2011
Couple on Mountain, 2003
Car Wash, 2010
To view more of Chris's work please visit his website.
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.
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.
In this transient and nomadic age, our sense of belonging to a place is challenged. The landscapes of our past become touchstones, things to which we return and measure the distance. This sequence of photographs from my childhood home of Minnesota and temporary residence in Georgia flow together to construct a metaphor for a private view, a layered and decentered sense of place.
To view more of Kates work please visit her website.
"These images are a response to my subjects looking at me, and myself as an artist looking back."
To see more of Hannah's work, please visit her website.
35º01'39.89"N 106º57'14.63"W
From the Project Grid Reference.
51º56'48.69"N 1º12'18.39"W
23º08'37.23"N 82º22'43.07"W
51º35'22.72"N 9º27'11.56"W
46º17'18.33"N 11º48'54.72"E
25º14'01.70"N 55º17'59.31"E
46º31'03.27"N 11º49'14.80"E
45º33'27.67"N 6º28'23.97"E
46º31'03.27"N 11º49'14.80"E
33º55'09.45"N 106º51'01.73"W
35º42'23.49"N 139º46'25.59"E
43º41'30.71"N 7º17'26.60"E
45º27'51.36"N 4º37'33.62"E
43º40'43.00"N 4º37'33.62"E
For more information, please visit his website.
Cache
My family roots back to Europe, but I was born in Israel. I was a child on a fence; a daughter to a migrating family. The house within culturally stayed European but outside was the Israeli controversial culture. I always felt a misfit with my partial incomplete identity; torn apart between parents who have never blended in to the Middle Eastern culture I felt only half belonged too. Over the years I have heard of my parent’s memories and stories. I remember hearing of snow, youth and happiness. Stories of happier days. The stories held on to the memories of time and culture that I wasn’t a part of, and portraits of family members that always remained anonymous to me and their faces where no more distinct than any other person in generic photo album. These stories were supposed to be my heritage. As I grew up I’ve started to question photography’s function as my memory, as my family heritage. I started not only looking for my identity in the old photos but also reflect my feelings from these photos on to the world around me. I look for moments and objects were there is a tension that is created by their incomplete aesthetic. Photography allows me to look at the little and unimportant objects around me and make them a part of my history just by giving them attention. By looking at them I capture them to remember, not letting them go away, yet not trying to save them. Watching their last seconds before I leave and the moment becomes irrelevant, capturing their last breath. With my camera I grant them with eternity and in that I grant myself a memory.
For more information, please visit her website.
Detroit Savings Bank, Detroit, MI 2012
First national Bank, Wilkes Barre, PA 2013
Metropolitan Savings Bank, New York, NY 2013
The People's Trust
"The People's Trust" is a series of photographs that document financial institutions across America, from the remains of grand, re-purposed 20th and 19th century structures to modernist glass structures to the financial institutions of today. The current selection looks at re-purposed and defunct financial institutions.
This project begins in Wall Street and gravitates outward through Brooklyn, Queens, The Bronx, Upper Manhattan and across the United States.
The Project proposes that we can derive information about our culture and it's present values through looking at the structures that host our financial transactions and their legacies.
Lincoln Savings Bank, Brooklyn, NY 2011
New York County National Bank, New York, NY 2012
I am drawn to former bank buildings because of what they tell about our culture, past and of the present— much of it looks to a time when money was more local, banks spread out & anchoring individual communities, thousands of solid stone structures in the place of a handful of glass skyscrapers downtowns across the globe.
As I began photographing I couldn't help but register the headstrong optimism in these buildings, the grandiose way in which they were fortresses built to last— all that in contradistinction to what they're used for now. It fascinates me, that in their current state, these structures still project so much of their former authority.
The project's not about what I like or don’t like, but about the how odd these building are today in a world where the aesthetics (as well as the simple facts) of power, wealth, & class have all fundamentally changed.
Prudential Savings Bank, Brooklyn, NY 2012
S.Jarmulosky’s Bank, New York, NY 2011
The First National City Bank of New York, New York, NY 2011
The Peoples State Bank, Detroit, MI 2012
The Peoples Trust Company, Brooklyn, NY 2011
Untitled, Detroit, MI 2012
Untitled, New York, NY 2013
To view more of Michael's work please visit his website.
So when Sandman took up photography, she saw it as a means to convey ideas. A painter who worked without paint, she became a photographer who made images without a camera. Lensless photography, Van Dyke Brown photograms and found objects, were her artistic materials. Sandman was drawn to their “sensuous surfaces,” to the mixing of chemicals to coat her paper, controlling the light source to reveal her images. “It was a very painterly process,” she shares, and the beginning of what I like to call Sandman’s “Sensuous Conceptualism.” Finding rocks and stones along the beach that resembled human skulls, Sandman could take the human form as her subject without succumbing to representationalism. She would later transform those photograms with inks and crayon, creating torsos that remind one of Jean-Michel Basquiat’s Riding with Death.
Sandman did not have qualms about working with stones, but her work would later develop in ways that made her question her relationship with Realism. When her radiologist took an XRAY of her hand, Sandman saw an “aesthetic, not diagnostic” image. The beauty of the image caught her eye. She soon began collecting XRAYs from her radiologist, hospitals, and a research dentist studying bone development and bite dentition (before HEPA rules on privacy closed the door on her process). Sandman was still working with found objects, creating paradoxically intimate and anonymous portraits by transforming XRAYs. “If you give away an XRAY and remove all of the data associated with it, it becomes totally anonymous,” she pointed out, showing me selections of her Daizo prints and the XRAYs from which they are made on her light box.
Her Light Memory series falls in the Vanitas tradition. “They’re Memento Mori,” she says, “reminders of death,” much like skulls or flickering candles in still life paintings. But working so closely with the human form, Sandman had concerns about her work being too representative. “Does it blow the whole aesthetic?” she wondered. Her solution was to transform her XRAYs completely, much the way she had reshaped the stones she collected for her photograms. Where she had begun by photocopying the XRAYs, and later by having them printed by an architectural reproduction company (as blueprints), she would soon, with the help of Gus Kayafas at Palm Press, begin mastering darkroom techniques and making truly archival photographs. She describes the Kayafas’ Atelier as a “hive of activity” where she learned to convert XRAYs to internegatives to negatives.
Jo Sandman works at the intersection of art and science. Her's is not scientific photography, but rather the transformation of medical imaging into aesthetic objects. While Light Memory is about mortality, it is also a way of bringing back the dead, of giving life again to bones. Her anonymous portraits are oxymorons. Sandman describes her process as being “very open.” She is “very stimulated by experiences and what I see” and “finds inspiration everywhere.” Once, when stuck in a garage waiting for her car to be repaired, Sandman spotted some interesting tubbing. She asked to buy all of it. “Lady, what kind of car do you have?” the mechanic retorted. “These aren’t for my car,” she corrected. Instead, the tubbing was for a sculpture Continuity that she would install along a 40 ft wall at the Danforth Museum of Art.
A truly interdisciplinary artist, Jo Sandman is a Boston-based photographer who has long made powerful and well-executed conceptual work. She does not shirk beauty for an idea, but nor does she favor merely pretty pictures. She has been a Professor at both Wellesley College and Massachusetts College of Art and Design. Photos from her Light Memory series are on view now through December 20 at the Photographic Resource Center, in collaboration with the Griffin Museum of Photography, as part of the NEPR Showcase. Always ready to try something new, Sandman is at work on a series that combines collage and layering with XRAYs. I had the pleasure of seeing this work, still under wraps, in her studio. For those whose interest has been piqued, be sure to see Jo Sandman’s upcoming exhibition, comprised of all new work, at Gallery Kayafas in late March of 2014.
--Robyn Day
Robyn Day is a Boston-based photographer and contributing writer at Art New England, The ARTery, and Big Red & Shiny.
For more works by Jo, please visit her website.