New Zealand-born photographer based in Sydney, Australia Simon Davidson has been photographing the sub-culture of burnout competitions in Australia. Davidson has become recognized as one of Australia’s leading photographers. Self-taught, he has created a successful career photographing a wide variety of subjects, creating content in both the advertising and editorial environments internationally.
With his Burnout series he recognizes beauty where it’s not immediately obvious. He finds expression in a car spinning its rear wheels with the single purpose of destruction. His images are superbly composed contemplations of the moment. Slices in time that hold the gaze with car, driver and movement balanced in an ideal expression of a sublime modernity.
“The guys and girls who compete in the various competitions across Australia are a passionate bunch. As a photographer I enjoy the visual feast of a superb and powerful car on the black of the burnout pad juxtaposed against the softness of the tire smoke. In reality a burnout is extremely loud and aggressive but in the photos there is a sense of calm… poetic in a way.” Simon Davidson
Koen Hauser works as a photographer and visual artist. He finished his masters of science in social psychology, later followed by studying photography at the Gerrit Rietveld Academie.
Hauser is known for his intangible body of work flowing between fine arts, fashion and applied photography. From purely esthetical to highly conceptual, he frequently references or paraphrases the iconic visual language of historical photography, or even incorporates exisiting images into his work. Together with his distinguished feel for appearance and his love for the mysterious, alienating, strange and uncanny, these are the key elements that form the core of his body of work, which has a distinct metaphysical dimension.
Aïda Muluneh is an Ethiopian artist based in Addis Ababa. In 2000 she received a Bachelor of Arts degree in film, radio and television from Howard University in Washington, D.C. Muluneh is the 2007 recipient of the European Union Prize in the Rencontres Africanines de la Photographie in Bamako, Mali, as well as the 2010 winner of the CRAF International Award of Photography in Spilimbergo, Italy.
Muluneh’s work on body painting is inspired by traditional body art from across the African continent. “Each work is a reflection of conscious and sub-conscious manifestations of time and space,” she writes.
Xiaoyi Chen currently lives and works in UK and China. She received her MA in photography from the London College of Communications in 2014 and was awarded the LCC/Photofusion Prize. Chen’s work has been exhibited and published internationally.
Chen’s practice is tied to a natural, oriental aesthetic, influenced by Western abstract art and oriental philosophy. Photography is a personal tool for Chen, used to question broad concepts that migrate from the personal to the philosophical realm. Her recent work focuses on the combination of photography and printmaking, a combination of techniques used to explore beneath the surface of things by simplifying and abstracting; an approach aimed at reviving spiritual awareness and intuition before entering the symbolic nature of what we view.
Originally from California, Laura Thompson moved to the UK to study International Relations at the University of St Andrews. After reading Richard Sennet’s anthropological and scientific studies, in which he states that technological advances have made us more and more detached from nature, creating a passive culture that deprives our senses, the Glasgow-based photographer knew she wanted to reflect this thought in her photographic work.
“From these findings I began to create modern day mythological narratives in which I explore themes associated with the dislocation of our senses. It is centred on constructed “yeti-like” creatures made up of either disposable manmade plastic forks, earplugs, vinyl gloves, car air fresheners or compact mirrors, each representing one of the senses. These creatures have been consumed by these modern, materialistic items and as such can no longer sense anything at all. Neither human nor animal, they wander between worlds fitting in nowhere, yearning to be part of a world they no longer belong to, and becoming a creature of myth.” Laura Thompson
Known as one of the most influential photographers of street culture in the new millennium, Boogie emerges once again to spark our curiosity and narrate authentic stories in his own raw style. A Wah Do Dem, Boogie’s sixth monograph, and his first one in color, takes us far away from the familiarity of the West, and throws us into the noisy and cryptic underbelly of Kingston, Jamaica. Through his pictures, Boogie illustrates both the madness and humanity of a complex place, where poverty, violence and crime are often dominant elements of daily life. He relies on his instincts to gain the trust of people who live on the edge of society, and to photograph their world in an honest and objective way. “I was waiting in a back alley, all the way down the lane, in one of the sketchiest neighborhoods in Kingston. It was pitch dark, and it felt like I had been waiting forever. At some point, a guy wearing a creepy horror movie mask and carrying an M-16 appeared from the dark,”Boogie writes in his introductory text, “Even though I was brought there by a friend of a friend, I was really nervous, you never know when things might turn ugly. After a brief introduction, I started taking pictures of the guy, roll after roll, I couldn’t stop. It was the last night of my first trip to Kingston, Jamaica, and at that moment I knew I had to come back again very soon.”
Photographer, Pierre Carreau’sAquaViva series effortlessly carries the range of the human condition in wave-like forms. Carreau’s images of waves, each distinct from the other, captures a flash in time that is often unseen by the human eye. Carreau suspends each wave to expose its life, feeling and purpose, similar to the expression of emotional states in humans, such that feelings are universal, but the expression through an individual is what makes the experience unique. One cannot help but feel the formlessness of the bountiful ocean and its kinetic energy thrusting to shore.
Carreau describes the goal of his work is to, “transfer the waves’ energy to those who view them. Water is amazing, it has no color, but through reflection and refraction it can possess all of them, the entire spectrum of light.”
The NY Times said it best: “For most every year since 1964, Pirelli, the Italian tire maker, has bankrolled a very unusual, very expensive promotional calendar. It typically involves a coterie of the world’s hottest models jetting to an exquisitely remote clime — the Seychelles, say, or Botswana — to be photographed, nude, by an elite fashion photographer.” This year, the models are Saskia de Braw, Lara Stone, Kate Moss, Milla Jovovich, and others, and the photographer is Mario Sorrenti, and the location is Corsica.
This is what Ulf Lundin does. Puts his subjects in the dark for about a half-hour, then shoots a photo of them with flash when they aren’t expecting it. Look at those eyes! Lundin’s statement about the project reads: “The light in the portraits are traditionally set, but still they are quite different to traditional photography portraiture. There is a romantic impression that the photographer should capture the true personality of the person in front of him. In the series “From Darkness” it is the opposite. The people rather looks like if they are from a vax cabinette. Or are they even dead? They don’t communicate with the viewer or the photographer (if You could say that there is any?). It is as if they are shut down, parked in stand by-mode. Since there is nobody watching them they have ceased existing socially.”