Exhibit: Janelle Lynch

© Janelle Lynch

www.JanelleLynch.net

From January through December 2013 American photographic artist Janelle Lynch was the first artist-in-residence at the Burchfield Penney Art Center in Buffalo, New York. Lynch, who was born and raised in Western New York, made eight week-long visits from her current home in New York City to Buffalo to further her own work inspired by Charles Burchfield.

Sixteen works she made during her residency will be shown in an exhibition, titled Presence, at the Center from June 13 through November 30, 2014.

Lynch was first drawn to Burchfield’s work in 2006 due to a shared capacity to imagine human-like characteristics in nature; hence, she anthropomorphizes her subjects. Lynch, like Burchfield, was inspired by Henry David Thoreau’s nature writings and transcendental philosophy, which suggests that the natural world is formed and informed by spirits, and that its elements are symbols of a great spirituality.

Presence emerged from Lynch’s exploration of two landscapes: across the street from Burchfield’s former home in Gardenville, New York, now a nature preserve, and at her studio in the Catskill Mountains.

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Massimo Cristaldi

© Massimo Cristaldi

www.MassimoCristaldi.com

In 2013 about 42,000 migrants ventured out the sea to reach Italy and Europe, mostly through Sicily and its islands. Many thousands of people have done the same route in previous years.

In Touch Ground I photographed beaches, harbors, cliffs: places where, in recent years, migrants went ashore (or just attempted to arrive) from North Africa. It’s an exploration project on a firm ground, a coveted place, object of hopes, tragedies, happiness, disillusion, and sometimes death. Places that at night appeared full of meanings and in which I perceived absences that have influenced me, as indeed as a whole a migration of epic proportions has done. It is then, once again, a work on the borders, in this case between sea, land and men. Seascapes, and yet “places of the present,” places of contemporary history, theaters of tragic events for some, simply “sea” for all of us.

— Massimo Cristaldi, Catania, Italy

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Panayiotis Lamprou

© Panayiotis Lamprou

www.PanayiotisLamprou.com

No words can describe what I see.

There is always a reason to go and find an image. It seems an appointment with myself.

The result has a quality that remains inner and elegant to see. 

This is enough for an eye to breathe. 

No words can describe what I see. But I feel.

— Panayiotis Lamprou, Athens, Greece

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Giacomo Streliotto

© Giacomo Streliotto

www.GiacomoStreliotto.com

Via della Stazione, Urbino, Italy. A road that leads to the old railway station which now is a restaurant. Along this street many workers and students park their cars to reach the historical center by bus. Via della Stazione is in fact “outside” of the city. I used to walk along this street for the pleasure of doing so, especially on weekends. I decided to carry my camera every time I went for a walk in Via della Stazione, and to “note” what I saw. The images I present are the visual notes of these walkings.

— Giacomo Streliotto, Padua, Italy

© Giacomo Streliotto

© Giacomo Streliotto3

Ivan Petrovic

© Ivan Petrovic

www.IvanPetrovic.com

Fieldwork is an ongoing project representing people working on the fields producing food, considering landscape as ambient of sight with its singular changing that comes from the relationship between human beings and nature, combining ideas about meanings of landscape as romantic and political.

— Ivan Petrovic, Belgrade, Serbia

© Ivan Petrovic

© Ivan Petrovic3

Pascal Demeester

© Pascal Demeester

www.PascalDemeesterVisualArts.com

I had to find peculiar fragments of reality, which after having been recorded and printed will have the particularity to disappear before my eyes.


Naturally, landscape studies became my place of predilection for my research. During the last two years, I rode my motorcycle with a 4×5 Ebony Camera through the landscapes of France, Belgium and England.

The sites found became sanctuaries of sorts to which I can go back and explore their evolutions according to the time and seasons, until their possible disappearances.

Using techniques that are as discreet as possible, the elegance of the landscape’s harmonious inner natural composition and the application of the contrapuntal principle, I want to create potential moments where a photograph will visually destabilize me, triggering specific cultural memories.

During these moments, my spirit has no choice but to spontaneously build webs of visual, emotional and musical sensations freely above the original documentary print.

— Pascal Demeester, New York City

© Pascal Demeester

© Pascal Demeester3

Jeremy Kohm

© Jeremy Kohm

www.JeremyKohm.com

What most attracts me to photography is the ability to no longer experience an environment but rather simply observe it. I find that when I bring the camera to my eye I am completely removed from my surroundings. Once looking through the viewfinder I go back to exploring the same themes that I have always loved.  I am particularly fascinated with the interaction between the constructed and the natural world and how that affects the way people move within it.

— Jeremy Kohm, Toronto, Ontario, Canada

© Jeremy Kohm

© Jeremy Kohm3

Ettore Moni

© Ettore Moni

www.EttoreMoni.com

An architectural and anthropological research along the banks of the river Po. Attentive to the landscape, but focused on housing. Stilts, boats, barges beached like whales. Hanging houses in a world a part. Details on the border with the city, because it is discovered that you want to talk to them, the mansion built by the mighty river. The hanging houses. Between everything that moves constantly and the will of man to put down roots. Among the tales of a never-ending story and metaphorical signs of a past not yet forgotten. Inside the landscape created by the force of the Po.

— Ettore Moni, Parma, Italy

© Ettore Moni

© Ettore Moni3

Giovanni Albore

© Giovanni Albore

www.GiovanniAlbore.com

I see gas stations as contemporary monuments. I imagine that very soon in the future there will be no more gas stations, because of the end of fossil fuels, so they will not have any function in the future. They will become past architectures and witnesses to our society.

I deal with photographic research in the context of landscape, urban and otherwise. The silences, the empty spaces, are the subjects I prefer. The human presence is not physical, but it exists. My photographic research is inspired by human traces, signs, overbuilding uncontrolled where the uncontaminated is replaced by urbanization. My research is almost exclusively about urban areas, a subjective/objective vision that leads me very close to the documentary photography.

— Giovanni Albore, Bari, Italy

© Giovanni Albore

© Giovanni Albore3

Troy Paiva

© Troy Paiva

www.LostAmerica.com

My light-painted night work captures the abandoned and discarded underbelly of the American West.  I sneak through fences during the full moon to capture the inevitable march of nature, scrappers and developers, who conspire to erase the fading memories of all these things we once held so dear.  I convert these dark, dirty, places no one wants into surreal, glittering wonderlands, colorful, ghostly echoes of what once was.

I started lighting because, right from the beginning, I saw these places as theatrical. As dark movie sets.  The thing that makes a stage set compelling is lighting.  So I use key lighting and shadow areas to control the composition and lead the viewer’s eye.  It’s basic cinematic story-telling.  As a life-long, career artist (graphics, painting, illustration, etc.) I understand and take advantage of color theory and the cultural meanings of colors.  The feelings they evoke.  Generally, I like to use colors that contrast/balance with the ambient tonal range of the scene or enhance the natural colors of the subject.

— Troy Paiva, Redwood City, California, USA

© Troy Paiva

© Troy Paiva3