Loreal Prystaj

Fountain Head

2019

Table Study No 1, 2021 Fine Art Print on Baryta paper mounted on dibond, framed 140 x 100 x 0.3 cm Framed: 141 x 101 x 4 cm Edition 1 on 3 Loreal Prystaj is an American visual artis...

Table Study No 1, 2021 Fine Art Print on Baryta paper mounted on dibond, framed 140 x 100 x 0.3 cm Framed: 141 x 101 x 4 cm Edition 1 on 3 Loreal Prystaj is an American visual artis...

Still life. A vase with seven sunflowers Series Playing The House, 2020 Fine Art Print on Baryta paper mounted on dibond, framed 101 x 81 x 3 cm Edition 2 on 5 Loreal Prystaj is...

Fountain Head, 2019 Fine Art Print on Baryta paper mounted on dibond, framed 100 x 65 x 0.3 cm Framed: 101 x 66 x 4 cm Edition 2 on 5 Loreal Prystaj is an American visual artist bas...

Meteora, Greece 2018 Edition 1/5. Pigment print on Canson photographic rag 310g, mounted on dibond in smoked oak wood frame with museum glass. Framed: 35 x 39 x 3 cm To get a fresh look at natures beauty in a modern era, Zak van Biljon went beyond the visible spectrum to capture these vivid images. The technique, developed for military surveillance and crop surveys, captures near-infrared light: wavelengths of electromagnetic radiation that fall between what we see as red and the longer wavelengths used for thermal imaging. The pigment in plant leaves, chlorophyll, strongly absorbs visible light which they use as a source of energy in the process of photosynthesis. The cell structure of the leaves, on the other hand, strongly reflects near-infrared light. A strong absorption at these wavelengths would only result in overheating the plant and possibly damaging the tissues. The human eye is unable to perceive infrared light but it is exactly this reflected energy, which reacts with infrared-sensitive material to create electric pinks and vibrant reds. The idea of landscapes is not landscape by itself. Nothing exists by itself but only through perception. Our perception, however, is subject to both individual watching and classifying what we see. The classification is strongly subdued to the imagery with which we are confronted every day. The famous Windows computer desktop image “Bliss” and others of this kind have become a kind of nature of which we believe that is is “true” nature. Pictures of natures are not about falsifying nature itself but are reflecting our perception of nature. What kind of image do we have? On social media channels user are sharing zillions of filtered photos of nature...

Untitled in blue-grey 2020 Edition 1, AP. Pigment print on Canson photographic rag 310g, mounted on dibond in grey oak wood frame with museum glass. Framed: 144.6 x 128 x 7 cm Edition in 3 sizes, 3-2-1 + AP To get a fresh look at natures beauty in a modern era, Zak van Biljon went beyond the visible spectrum to capture these vivid images. The technique, developed for military surveillance and crop surveys, captures near-infrared light: wavelengths of electromagnetic radiation that fall between what we see as red and the longer wavelengths used for thermal imaging. The pigment in plant leaves, chlorophyll, strongly absorbs visible light which they use as a source of energy in the process of photosynthesis. The cell structure of the leaves, on the other hand, strongly reflects near-infrared light. A strong absorption at these wavelengths would only result in overheating the plant and possibly damaging the tissues. The human eye is unable to perceive infrared light but it is exactly this reflected energy, which reacts with infrared-sensitive material to create electric pinks and vibrant reds. The idea of landscapes is not landscape by itself. Nothing exists by itself but only through perception. Our perception, however, is subject to both individual watching and classifying what we see. The classification is strongly subdued to the imagery with which we are confronted every day. The famous Windows computer desktop image “Bliss” and others of this kind have become a kind of nature of which we believe that is is “true” nature. Pictures of natures are not about falsifying nature itself but are reflecting our perception of nature. What kind of image do we have? On social media channels user are sharing zillions of filtered photos of nature...

'Maiden Dance' (Chicks and Chicks and sometimes Cocks) Edition 5/10, 20x20cm, 2017 Based on a Polaroid not mounted, Artist inventory 20216.05 The 'Chicks and Chicks' series is part...

If I could fly (Chicks and Chicks and sometimes Cocks) - 2017 50x50cm, Edition of 10. Digital C-Print, based on a Polaroid. Artist inventory 20058. Signature label and Certificate. ...

Thomas Ruff (German, b. 1958) Zeitungsfoto 071, Sterne 22h 24m / -20, 2002 Medium: Two C-prints, mounted on Forex Dimensions: 59 x 42 cm (23¼ x 16½ in) each Edition of 45: Hand-signe...

Edition of 25 Digital C Print, Diasec, Hand-signed by artist

"Fallen Angel" Fine Art Photography 18x12in Ed. 2/24 by Viktorija Pashuta 2015 Ready to hang Latvian born Viktorija Pashuta is internationally published and award winning fashion and art photographer gaining momentum and notoriety in Southern California. With visual cues rooted in dance and music, and fashion passion stemming from her European upbringing, her images are sensual, sultry, yet powerful. Viktorija’s work is known for so called ‘color therapy’ – where she uses saturated and vibrant colors to achieve the effect of fashion surrealism. Her images are very feminine and empowering at the same time to celebrate the essence of a woman. Her work has been published in such magazines as RUNWAY (USA), GQ, Esquire, VISION (China), Prestige International (France), Essence (USA), Estetica (USA), Nylon Guys, Vogue (Italia), Tchad (Canada), Fashizblack (France), Highlights (UK), CULTURE (Australia), shooting celebrity covers for Healthy Living Magazine, Runway, Orlando Style, Justine and more. Her celebrity work includes Paris Hilton, Kathy Griffin, Lance Bass, Taryn Manning, Bella Thorne, Kelly Price, Keke Palmer, Rochelle Aytes, James Goldstein...

Open Hand, Silver Gelatin Print, Signed and numbered, limited edition, signed Storytelling comes naturally for photographer Keith Carter whose East Texas roots have greatly influen...