Digital Pigment Figurative Photography

Untitled (Amtrak no. 8), 2001 This photo documentary explores the faces, locations, and personalities of those who opt to travel by train and the storied Americana of train travel i...

Untitled (Circus no. 2), 2004 Signed, numbered, and dated (archival label, verso) Digital Pigment Print 30 x 30 in, edition of 4 20 x 20 in, edition of 9 15 x 15 in, edition of 20 ...

Untitled (Circus no. 16), 2004 Signed, numbered, and dated (archival label, verso) Digital Pigment Print 30 x 30 in, edition of 4 20 x 20 in, edition of 9 15 x 15 in, edition of 20...

Untitled (John McAfee no. 5), 2012 I was shooting for my U.S. Marshals book when I got the call from the photography director at Wired Magazine for an ass...

Listing includes free shipping in the US and a 14-day return policy. All prints are made to order and will arrive in mint condition directly from Christopher Anderson...

Untitled (Robert Rachelle and Mona, Hawaiian Airlines), 2005 Flying the friendly skies, Brian Finke spent three years, on and off, photographing fli...

`Residence of Impermanence` 2017-2019 90x120 cm. Edition 7 My performance series, `Residence of Impermanence`, explores our relationship to animals, fire and Nature. Through the element of fire, I have found a way to express myself in totemic ritualistic performance by burning decaying trophy animals. The element of fire is very symbolic. It represents both destruction and creation. Animals and fire have, in many ways, formed our culture since the dawn of Mankind. They have also served as essential symbols in myth, spirituality, art and religion. Fire has protected us and given us hope. Given us a means to evolve in all culture. In Greek mythology, remember Prometheus. In the hand of Man, fire can be anything. It is our ethics that define it. We have always mirrored ourselves in Nature. What we see staring back at us may not be the image we were hoping for. This series is a reminder to where we have come regarding our relation to Nature and the huge effects of climatechange in the Anthropocene. My work often juxtaposes the visually aesthetic and uneasiness. An underlying feeling of that which is lost often plays an important role. I like to explore work themes that emanate a cognitive dissonance in the viewer to reveal more profound truths. I regard trophy animals as symbols of Man´s vanity and presumed victory over Nature. To me, they also serve as symbols of our general attitude towards Nature. The flames gives each animal a last breath of life as it creates a new portrait. The animal is set free again, ending a symbolic circle of life. A closure if you will, both physically and existentially. The English-inspired wallpapers represent imperialism and a colonial idea from a time when we were obsessed by conquering Nature and other lands. These too are burned with the animals symbolizing a protest toward our autocracy towards Nature itself. The repetitive performance of burning each animal serves as both an offering and a liberation. This is a violent act, but also a meaningful and beautiful act to me. The animals` personality changes dramatically throughout the burning process. This cannot be planned and therefore the animals give off a sense of further individuality. In the process of burning animals, I am also taking an object of desire off the market for further sales. An act that hopefully will spark dialog our use of Nature, as well as where we want to be heading in the near future. Dialog foments change and action. I spent seven years collecting old trophy animals and taxidermy of different sorts. Many were bought through auctions, while others were given to me by hunters` or the widows of hunters for this specific project. During the following three years, I went through a somewhat cathartic process of burning and obsessively exploring the symbolism of fire and our relation to animals with my performance. The intention with my series is to connect the public to the crucial matters at hand through something tangible, personal, and symbolic. These three years of working with this series has made me so much more conscious of how delicate nature is and how we have taken it for granted for too long. A reminder of how crucial both animals, fire and nature, for our so-called progress in survival and progress. Through this process, exploring new questions and inviting a larger audience to ask their own crucial questions in the massive global changes we all are witnessing, is what I strive for. Loss of animal diversity, poaching and massive forest fires are increasing so rapidly that Nature itself is at a major turning point. A call for action is needed. Working so close to the animals in my project has been as uplifting as it has been obsessive and heartbreaking, as the animal's eye connects with you on a personal level as a human does in non-verbal communication. In 2016, the government in Kenya burned poached ivory worth an estimated 130 million dollars, making a clear statement that these tusks should only belong to a living animal. This dramatic action created meaningful dialog around the world beyond news and statistics. Fires are destroying critical areas of much-needed land vegetation, thus creating considerable effects on climate change. The meeting between Nature`s fragility and Mans` ego has shown that forests disappear, glaciers are melting, sea levels are rising and species become extinct. Humans have too easily exploited all parts of nature with our own culture and growth. In this short process, we have lost the very essence of what we are a part, and thus forget the very nature in ourselves. What can photography do to create questions regarding climate change, and help us move towards a sustainable future? In photography, we can ask important questions about changes in our surroundings and who we are—Man’s condition. Background: `Residence of Impermanence` has been exhibited at five museums and several galleries already (including a big solo show at Fotografiska, Stockholm (2019), and Arles Fotofestival (2019). Work from `Residence of Impermanence' is currently exhibited at the UCR: California Museum of Photography in Los Angeles with the exhibition `Facing Fire,` Art, Wildfire and The End of Nature in the New West.` This exhibition explores the ever-worsening Californian forest fires due to climate change. My previous environmental work has been nominated for the Prix Pictet Award on several occasions with my previous series for both Earth, Power and Fire themes. In 2005, my series `Arctic Technology` was shortlisted for the BMW Prize at Paris photo (through Scout Gallery, London). My other series has been shown in museums, including a symposium at Johnson Museum, N.Y. and been part of travelling exhibitions with WHATCOM (Museum of Washington) with the exhibition `Vanishing Ice` and a China tour on environmental issues with Three Shadows Photography...

Untitled (Circus no. 7), 2004 Signed, numbered, and dated (archival label, verso) Digital Pigment Print 30 x 30 in, edition of 4 20 x 20 in, edition of 9 15 x 15 in, edition of 20 ...

Untitled (Porn Carnival no. 10), 2019 This story documents the book launch for writer, activist, and sex-worker legend Rachel Rabbit White’s first collection of poetry, Porn Carniva...

Untitled (Coachella no. 1), 2018 Rihanna’s pool party at Coachella. Signed, numbered, and dated (archival label, verso) Digital Pigment Print 30 x 30 in, edition of 4 20 x 20 in, ...

Untitled (Circus no. 6), 2004 Signed, numbered, and dated (archival label, verso) Digital Pigment Print 30 x 30 in, edition of 4 20 x 20 in, edition of 9 15 x 15 in, edition of 20 ...

Untitled (Circus no. 1), 2004 Signed, numbered, and dated (archival label, verso) Digital Pigment Print 30 x 30 in, edition of 4 20 x 20 in, edition of 9 15 x 15 in, edition of 20 ...

Wall Street, 1955-56 is a 19" x 13" limited edition print (8 of Ed 9) by photographer Leonard Freed. The work is signed verso (back of photo) by Brigitte Freed (wife of the photograp...

Untitled (Porn Carnival no. 27), 2019 This story documents the book launch for writer, activist, and sex-worker legend Rachel Rabbit White’s first colle...

Untitled (Texas no. 49), 2016 The Birth of Booze. Including images from Peru, where the Incan Empire develop chichi beer; Georgia, where the development of wine began over 8,000 yea...

Okurimono Pigment Print Images from the Okurimono series is available in 3 different formats : * 50 x 75 cm : edition of 10 + (+2ap) * 80 x 120 cm : edition of 7 + (+2ap) * 113 x...

Untitled (Porn Carnival no. 4), 2019 This story documents the book launch for writer, activist, and sex-worker legend Rachel Rabbit White’s first collection of poetry, Porn Carnival...

Untitled (Sex Machine no. 4), 2015 Photographed at a hedonism resort in Jamaica in 2015. Signed, numbered, and dated (archival label, verso) Digital Pi...

`Residence of Impermanence` 2017-2019 My performance series, `Residence of Impermanence`, explores our relationship to animals, fire and Nature. Through the element of fire, I hav...

All available sizes & editions for each size of this photograph: 90 cm. x 120 cm. Edition 7 126 cm. x 170 cm. Edition 7 `Residence of Impermanence` 2017-2019 My performance series, `Residence of Impermanence`, explores our relationship to animals, fire and Nature. Through the element of fire, I have found a way to express myself in totemic ritualistic performance by burning decaying trophy animals. The element of fire is very symbolic. It represents both destruction and creation. Animals and fire have, in many ways, formed our culture since the dawn of Mankind. They have also served as essential symbols in myth, spirituality, art and religion. Fire has protected us and given us hope. Given us a means to evolve in all culture. In Greek mythology, remember Prometheus. In the hand of Man, fire can be anything. It is our ethics that define it. We have always mirrored ourselves in Nature. What we see staring back at us may not be the image we were hoping for. This series is a reminder to where we have come regarding our relation to Nature and the huge effects of climatechange in the Anthropocene. My work often juxtaposes the visually aesthetic and uneasiness. An underlying feeling of that which is lost often plays an important role. I like to explore work themes that emanate a cognitive dissonance in the viewer to reveal more profound truths. I regard trophy animals as symbols of Man´s vanity and presumed victory over Nature. To me, they also serve as symbols of our general attitude towards Nature. The flames gives each animal a last breath of life as it creates a new portrait. The animal is set free again, ending a symbolic circle of life. A closure if you will, both physically and existentially. The English-inspired wallpapers represent imperialism and a colonial idea from a time when we were obsessed by conquering Nature and other lands. These too are burned with the animals symbolizing a protest toward our autocracy towards Nature itself. The repetitive performance of burning each animal serves as both an offering and a liberation. This is a violent act, but also a meaningful and beautiful act to me. The animals` personality changes dramatically throughout the burning process. This cannot be planned and therefore the animals give off a sense of further individuality. In the process of burning animals, I am also taking an object of desire off the market for further sales. An act that hopefully will spark dialog our use of Nature, as well as where we want to be heading in the near future. Dialog foments change and action. I spent seven years collecting old trophy animals and taxidermy of different sorts. Many were bought through auctions, while others were given to me by hunters` or the widows of hunters for this specific project. During the following three years, I went through a somewhat cathartic process of burning and obsessively exploring the symbolism of fire and our relation to animals with my performance. The intention with my series is to connect the public to the crucial matters at hand through something tangible, personal, and symbolic. These three years of working with this series has made me so much more conscious of how delicate nature is and how we have taken it for granted for too long. A reminder of how crucial both animals, fire and nature, for our so-called progress in survival and progress. Through this process, exploring new questions and inviting a larger audience to ask their own crucial questions in the massive global changes we all are witnessing, is what I strive for. Loss of animal diversity, poaching and massive forest fires are increasing so rapidly that Nature itself is at a major turning point. A call for action is needed. Working so close to the animals in my project has been as uplifting as it has been obsessive and heartbreaking, as the animal's eye connects with you on a personal level as a human does in non-verbal communication. In 2016, the government in Kenya burned poached ivory worth an estimated 130 million dollars, making a clear statement that these tusks should only belong to a living animal. This dramatic action created meaningful dialog around the world beyond news and statistics. Fires are destroying critical areas of much-needed land vegetation, thus creating considerable effects on climate change. The meeting between Nature`s fragility and Mans` ego has shown that forests disappear, glaciers are melting, sea levels are rising and species become extinct. Humans have too easily exploited all parts of nature with our own culture and growth. In this short process, we have lost the very essence of what we are a part, and thus forget the very nature in ourselves. What can photography do to create questions regarding climate change, and help us move towards a sustainable future? In photography, we can ask important questions about changes in our surroundings and who we are—Man’s condition. Background: `Residence of Impermanence` has been exhibited at five museums and several galleries already (including a big solo show at Fotografiska, Stockholm (2019), and Arles Fotofestival (2019). Work from `Residence of Impermanence' is currently exhibited at the UCR: California Museum of Photography in Los Angeles with the exhibition `Facing Fire,` Art, Wildfire and The End of Nature in the New West.` This exhibition explores the ever-worsening Californian forest fires due to climate change. My previous environmental work has been nominated for the Prix Pictet Award on several occasions with my previous series for both Earth, Power and Fire themes. In 2005, my series `Arctic Technology` was shortlisted for the BMW Prize at Paris photo (through Scout Gallery, London). My other series has been shown in museums, including a symposium at Johnson Museum, N.Y. and been part of travelling exhibitions with WHATCOM (Museum of Washington) with the exhibition `Vanishing Ice` and a China tour on environmental issues with Three Shadows Photography...

`Residence of Impermanence` 2017-2019 My performance series, `Residence of Impermanence`, explores our relationship to animals, fire and Nature. Through the element of fire, I hav...

90 x 120 cm Edition 7 `Residence of Impermanence` 2017-2019 My performance series, `Residence of Impermanence`, explores our relationship to animals, fire and Nature. Through the...

Golden Girl 2 Large scale photograph by Michael Banks - Archival Pigment print on fiber based paper ( Hahnemühle Photo RAG Baryta 315 gsm ) Limited Editi...

`Zebra`, Oslo, 2018 Edition 6 of 7 `Residence of Impermanence` 2017-2019 My performance series, `Residence of Impermanence`, explores our relationship to animals, fire and Nature...

Listing includes free shipping in the US and a 14-day return policy. All prints are made to order and will arrive in mint condition directly from Christopher Anderson...

`Residence of Impermanence` 2017-2019 My performance series, `Residence of Impermanence`, explores our relationship to animals, fire and Nature. Through the element of fire, I hav...

Parish Kohanim has been intimately involved with professional photography for over 25 years. Parish, who is a renowned commercial photographer, is now devoting his efforts towards hi...

Untitled (Sapphires no. 19), 2020 This story documents the male strippers at Sapphire NYC, a gentlemen's club that hosts a brunch called Men and Mimosas. ...

`Residence of Impermanence` 2017-2019 My performance series, `Residence of Impermanence`, explores our relationship to animals, fire and Nature. Through the element of fire, I hav...

90 x 120 cm Edition 7 `Residence of Impermanence` 2017-2019 My performance series, `Residence of Impermanence`, explores our relationship to animals, fire and Nature. Through the...

Large-scale photographer Troy House celebrates people’s primordial attraction to the beach. He travels the world capturing iconic, breathtaking scenes – often from a bird’s-eye view ...

Untitled (Sex Machine no. 12), 2015 Untitled (Sex Machine no. 12) was photographed at a hedonism resort in Jamaica in 2015. Signed, numbered, and dated ...

Parish Kohanim has been intimately involved with professional photography for over 25 years. Parish, who is a renowned commercial photographer, is now devoting his efforts towards hi...

Large-scale photographer Troy House celebrates people’s primordial attraction to the beach. He travels the world capturing iconic, breathtaking scenes – oft...

`Zebra 2` Oslo, 2019- from the series `Residence of Impermanence` 120 x 170 cm Edition 7 `Residence of Impermanence` 2017-2019 My performance series, `Residence of Impermanence`, ...

Untitled (Bodybuilding no. 1), 2003 Untitled (Bodybuilding no. 1) is from Brian Finke’s series Most Muscular (2003–2005), where the artist spent nearly two years photographing male ...

Listing includes free shipping in the US and a 14-day return policy. All prints are made to order and will arrive in mint condition directly from Christopher Anderson...

Untitled (Kate, Tiger Airways), 2006 Flying the friendly skies, Brian Finke spent three years, on and off, photographing flight attendants on carriers in the United States and abroa...

Untitled (Science of Taste no. 1), 2015 The story of the Science of Taste. Where does flavor reside—in the food we eat or in the subjective multi-sensory experience of eating? To se...

Untitled (Porn Carnival no. 1), 2019 This story documents the book launch for writer, activist, and sex-worker legend Rachel Rabbit White’s first collection of poetry, Porn Carnival...

Untitled (Porn Carnival no. 23), 2019 This story documents the book launch for writer, activist, and sex-worker legend Rachel Rabbit White’s first collection of poetry, Porn Carniva...

Untitled (Dubai no. 8), 2018 Signed, numbered, and dated (archival label, verso) Digital Pigment Print 30 x 30 in, edition of 4 20 x 20 in, edition of 9 15 x 15 in, edition of 20 P...

Untitled (Dubai no. 1), 2018 Signed, numbered, and dated (archival label, verso) Digital Pigment Print 30 x 30 in, edition of 4 20 x 20 in, edition of 9 15 x 15 in, edition of 20 P...

Untitled (Science of Taste no. 23), 2015 The story of the Science of Taste. Where does flavor reside—in the food we eat or in the subjective multi-sensory experience of eating? To s...

Untitled (Science of Taste no. 15), 2015 The story of the Science of Taste. Where does flavor reside—in the food we eat or in the subjective multi-sensory experience of eating? To s...

New York City, USA, 1954 is a 13" x 9" archival pigment print (baryta) in a limited edition of 5. Signed verso (back of photo) by Brigitte Freed (wife of the photographer), with Leon...

Untitled (Porn Carnival no. 2), 2019 This story documents the book launch for writer, activist, and sex-worker legend Rachel Rabbit White’s first collection of poetry, Porn Carnival...

Untitled (John McAfee no. 4), 2012 I was shooting for my U.S. Marshals book when I got the call from the photography director at Wired Magazine for an assignment to photograph John ...

Untitled (Sapphires no. 18), 2020 This story documents the male strippers at Sapphire NYC, a gentlemen's club that hosts a brunch called Men and Mimosas. ...

Untitled (Sapphires no. 14), 2020 This story documents the male strippers at Sapphire NYC, a gentlemen's club that hosts a brunch called Men and Mimosas. ...

Untitled (Sapphires no. 15), 2020 This story documents the male strippers at Sapphire NYC, a gentlemen's club that hosts a brunch called Men and Mimosas. There I captured a light-he...

Untitled (Sapphires no. 7), 2020 This story documents the male strippers at Sapphire NYC, a gentlemen's club that hosts a brunch called Men and Mimosas. T...

Untitled (Sapphires no. 6), 2020 This story documents the male strippers at Sapphire NYC, a gentlemen's club that hosts a brunch called Men and Mimosas. There I captured a light-hea...

Untitled (Sapphires no. 1), 2020 This story documents the male strippers at Sapphire NYC, a gentlemen's club that hosts a brunch called Men and Mimosas. There I captured a light-hea...

Untitled (John McAfee no. 9), 2012 I was shooting for my U.S. Marshals book when I got the call from the photography director at Wired Magazine for an assignment to photograph John ...

Untitled (John McAfee no. 7), 2012 I was shooting for my U.S. Marshals book when I got the call from the photography director at Wired Magazine for an ass...

Untitled (John McAfee no. 2), 2012 I was shooting for my U.S. Marshals book when I got the call from the photography director at Wired Magazine for an ass...

Untitled (Ole Miss no. 17), 2011 From a series of photos that capture the spectacle and revelry of American sports culture. This work documents the legendary...