Abstract Photography

This unique monotype cyanotype explores rhythm and transparency through layered organic forms set against deep ultramarine fields. Soft, overlapping shapes create a fluid geometric s...

Unique piece in this size More sizes and an Essay from Lyle Rexer about this series on request. Joachim Schmeisser’s work rescues photography from the centuries-old straightjacket ...

This unique cyanotype monotype diptych explores repetition and subtle variation through layered blue fields and softly undulating white forms. Evoking both modernist abstraction and ...

Unique piece in this size More sizes and an Essay from Lyle Rexer about this series on request. Joachim Schmeisser’s work rescues photography from the centuries-old straightjacket ...

Untitled XII, Ain’t Got No Troubles series, is a limited-edition photograph by contemporary artist Matthieu Venot. This photograph is sold unframed as a print only. It is available ...

Aerial Views, Tulip Fields 14 is a limited-edition photograph by German contemporary artist Bernhard Lang. This photograph is sold unframed as a print only. It is available in 3 di...

The Hamptons 1955 by Toni Frissell Oversize Limited Signature Stamped Edition A beach scene in The Hamptons USA 1955. 30 x 20" inches / 76 x 51 cm paper size Archival pigment pr...

Stahlwerk 006 is a limited-edition photograph by German contemporary artist Bernhard Lang. This photograph is sold unframed as a print only. It is available in 3 dimensions: *90 × ...

Aerial Views, Tulip Fields 10 is a limited-edition photograph by German contemporary artist Bernhard Lang. This photograph is sold unframed as a print only. It is available in 3 di...

Double Portals is a cyanotype diptych that plays with depth, geometry, and light. Composed of layered indigo gradients, the work creates a rhythmic sense of movement, drawing the vie...

Unique piece in this size More sizes and an Essay from Lyle Rexer about this series on request. Joachim Schmeisser’s work rescues photography from the centuries-old straightjacket ...

Unique piece More sizes and an Essay from Lyle Rexer about this series on request. Joachim Schmeisser’s work rescues photography from the centuries-old straightjacket of realism to...

Zigzag Ovals is a cyanotype monotype diptych that explores the interplay between fluid forms and structured repetition. Organic white shapes drift across rich blue tonal fields, crea...

Unique piece More sizes and an Essay from Lyle Rexer about this series on request. Joachim Schmeisser’s work rescues photography from the centuries-old straightjacket of realism to...

Unique piece in this size More sizes and an Essay from Lyle Rexer about this series on request. Joachim Schmeisser’s work rescues photography from the centuries-old straightjacket ...

Unique piece in this size More sizes and an Essay from Lyle Rexer about this series on request. Joachim Schmeisser’s work rescues photography from the centuries-old straightjacket ...

Eduardo Rezende’s 2024 series Lavori in Corso revisits one of the artist’s most enduring themes: the urban and architectural landscape — this time focused on construction sites, scaf...

Unique piece in this size More sizes and an Essay from Lyle Rexer about this series on request. Joachim Schmeisser’s work rescues photography from the centuries-old straightjacket ...

large format photograph of sun reflections on pool water surface, mesmerizing light reflections of glistening sunlight on turquoise aquamarine water surface, an homage to the iconic ...

This is an exclusive handprinted unique cyanotype that takes its inspiration from the mid-century modern shapes. It's made by layering paper cutouts and different exposures using uv-...

'Ramunės' London, United Kingdom 2022 Limited edition of 20. Photograph printed on heavyweight fine art paper. Photograph is shipped fast and flat in secure thick cardboard packa...

Driving Range is a dynamic C-Type Matte Print by Contemporary photographer Chris Frazer Smith. It is available in this size in an Edition of 25, and is sold unframed. In a departur...

The Bog Renaturated 006 is a limited-edition photograph by contemporary artist Bernhard Lang. This photograph is sold unframed as a print only. It is available in 3 dimensions: *60...

“Private Pool” is a part of Alex Sher’s popular series REFLECTIONS - underwater photographs that could be almost mistaken for abstract paintings as they bring up recollections of mas...

All my life I have held a fascination with the animal kingdom, which began in my childhood growing up on a farm and extended into my adult years. On some inexplicable level I feel a ...

Unique piece More sizes and an Essay from Lyle Rexer about this series on request. Joachim Schmeisser’s work rescues photography from the centuries-old straightjacket of realism to...

Christopher Colville is an American artist working to push the boundaries of the photographic medium in both experimental and traditional forms. His images are created outdoors by ig...

Grid No.6, 2009 (Contemporary Framed Abstract Grid in Neutral Shades Black & Coffee) by Birgit Blyth 40" X 25" paper vertical chromoskedesic monoprint 44 x 29 inches framed, custom frame with black wood molding and anti-reflective glass This contemporary, abstract style chromoskedasic monoprint was created by experimental photographer, Birgit Blyth. Without the use of a camera, the artist produced this chromoskedasic image by applying the photographic chemicals to black and white photo pager and exposing it to light. The variety of caramel, toffee, brown and black tones is determined by the different chemicals used and the amount of time they are exposed to light. Here, the artist paints with the photographic materials in a gestural, linear motion. Beautiful hues of coffee, caramel, brown, grey, and black intersect to create unique abstract, intersecting grid patterns that resembles a basket weave motif. The photograph is complimented with a black metal frame with non-glare glass. It is equipped with sturdy wire on the back for instant and professional quality hanging. About the artist and work: Birgit Blyth is one of our most innovative and prolific photographers who works in a darkroom yet uses no camera! Blyth has been experimenting with a technique known as Chromoskedasic painting since the early ‘90s and variations on this concept have been shown at the gallery for the last 20 years. The unusual process involves the use of silver particles in black and white photographic paper to scatter light at different wavelengths when exposed. A chemist of sorts, Blyth demonstrates a thorough knowledge of how the various photographic chemicals will react when applied to paper and exposed. Each work is unique with palettes that resonate brilliant tonalities of brown, green, black, and purple. Using this technique, Blyth creates abstract crosshatching grids and most recently has developed a more gestural series of 20 x 16 inch chromoskedasic paintings that explores the ethereal qualities made possible by the unconventional material. Birgit Blyth succeeds at keeping her work fresh and cutting-edge using analog methods that are being quickly replaced elsewhere with digital technology. Though Birgit Blyth began her photographic career using conventional photographic methods, she quickly became more interested in alternative processes. In the mid 1990’s a colleague showed her an article in Scientific American and it was here that she first discovered the technique called “chromoskedasic” painting, which would eventually lead her to fully finding her voice as a photographer. Blyth had always aligned herself with and been moved by abstract expressionist painting. The series of veil paintings by post-abstract expressionist, Morris Louis, was especially inspiring to her and caused her to ask herself how she could do similar interpretations photographically. In “chromoskedasic” painting, she found the answers and would begin on a new path in her artwork. The term “chromoskedasic” is derived from Greek roots meaning color by light scattering. Developed by a photographer named Dr. Dominic Man-Kit Lam, this process exploits the capability of silver particles in black and white photographic paper to “scatter” light at different wavelengths when exposed to light and chemicals. In her mastery of this photochemical drawing process, Blyth has painted lush washes of color into her own “Veil Series;” she has envisioned landscapes, both rural and urban, with melting swirls and marbled colors into rich palettes of toffee and lead. She has used this essentially experimental process to help her “see” the world around her. Blyth says she continues to be fascinated by the process because it requires “a combination of discipline, experimentation, and imagination, making possible a wonderful balance between control and surprise.” Because the chromoskedasic work is all analog, Blyth spends much of her studio time in the darkroom, which has become a rarity in the current world of digital photography. She does however, continue her preference for experimentation in numerous directions, even employing aspects of the digital age – this exhibit will also feature a new series of pieces created with the now defunct but much loved SX-70 polaroid camera, scanned and archivally printed on 24” x 24” fine cotton rag paper. Whatever the process, Blyth’s work is, as the painter and poet, Peter Sacks noted, a blend of “precision and mystery, of articulation and atmosphere.” Her images leave us with the feeling of ongoing action despite the apparent stillness; of qualities both dreamy and stark as light hits a stand of birch trees in a valley or a group of buildings in New York City. As Morris Louis evolved a style of painting that produced a complete integration of paint and canvas, so too has Blyth, with photo paper and chemicals, created a perfect integration of method and content. Artist CV: Born: Kousted, Denmark Resident in U.S.A. since 1963 Education: Denmark and U.S.A. Project, Inc., Cambridge MA (Photography) DeCordova Museum School, Lincoln MA (Printmaking) Maine Photography...

Unique piece More sizes and an Essay from Lyle Rexer about this series on request. Joachim Schmeisser’s work rescues photography from the centuries-old straightjacket of realism to...

“Pile of Stones” is an original handmade cyanotype monotype that distills the quiet presence of stacked forms into a refined, contemporary composition. Rendered in layered blues with...

This unique monotype cyanotype, rendered in rich blue tones, draws inspiration from mid-century modern shapes to explore themes of balance and duality. Abstract forms echo harmony an...

Driving Range is a dynamic C-Type Matt Print by Contemporary photographer Chris Frazer Smith. It is available in this size in an Edition of 25 and is sold unframed. This print is a...

Unique piece in this size More sizes and an Essay from Lyle Rexer about this series on request. Joachim Schmeisser’s work rescues photography from the centuries-old straightjacket ...

Unique piece in this size More sizes and an Essay from Lyle Rexer about this series on request. Joachim Schmeisser’s work rescues photography from the centuries-old straightjacket ...

Baltic Ice II, Paernu 007 is a limited-edition photograph by German contemporary artist Bernhard Lang. This photograph is sold unframed as a print only. It is available in 4 dimens...

This is an exclusive handprinted limited edition cyanotype. "Infinity Pool" is a sophisticated image that captures the water reflections shimmering over ...

The Bog Renaturated 016 is a limited-edition photograph by contemporary artist Bernhard Lang. It is an archival pigment print on Hahnemüle Fine Art Paper. This photograph is sold u...

Unique piece in this size More sizes and an Essay from Lyle Rexer about this series on request. Joachim Schmeisser’s work rescues photography from the centuries-old straightjacket ...

Sandstill No.3 London, United Kingdom 2021 From limited edition of 20. The photograph is signed front bottom right corner and comes with a certificate of authenticity, signed dat...

Unique piece in this size More sizes and an Essay from Lyle Rexer about this series on request. Joachim Schmeisser’s work rescues photography from the centuries-old straightjacket ...

Cody Choi - The 3rd day #16 This image was taken at the 3rd time of Cody’s visit as a guest teacher at Tsoying High School in Taiwan- where most students are highly disciplined and t...

Lost in a sea of rich saturation of dark and light blue colors, a feminine form gracefully traverses the expanse of the water. Alex Sher’s “Anesthesia” invites us into an abstracted ...

Delphinium by Giles Revell This is an Archival Pigment Print available in this size of 50cm x 50cm in a limited edition of 25 prints In Cartographic Colour, Giles Revell reduces th...

This exquisite chromogenic print by Marilyn Minter (b. 1948), titled Prism, exemplifies the artist’s radical expansion of photo-real imagery into a realm of heightened sensuality, su...

"Retro Overlaps II" is a unique handmade cyanotype on watercolor paper, presented as a striking abstract triptych. The artist layers fluid, organic shapes in luminous shades of blue ...

Unique piece More sizes and an Essay from Lyle Rexer about this series on request. Joachim Schmeisser’s work rescues photography from the centuries-old straightjacket of realism to...

This unique cyanotype monotype diptych features fluid, interlocking shapes that drift across luminous fields of blue, creating a rhythmic balance between movement and stillness. Hand...

Eternity (Deconstructivism) - 2020 - about the narrative potential of images. 20x20cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid, Artist Inven...

Eduardo Rezende’s 2024 series Lavori in Corso revisits one of the artist’s most enduring themes: the urban and architectural landscape — this time focused on construction sites, scaf...

Streets of Kowloon Gold, part of Richard Heeps series photographing on the streets of Hong Kong in Kowloon in 2016 this stunning abstract piece is so striking in a room. The whole 20...

" "Crosshatch" is a classic example of my abstract PhotoLuminism technique. When light travels, the human eye cannot see its trails, but the camera can. Capturing images that are int...

Unique piece in this size More sizes and an Essay from Lyle Rexer about this series on request. Joachim Schmeisser’s work rescues photography from the centuries-old straightjacket ...

large scale monochromatic abstract observation of mesmerizing atmospheric color palette, from Raymond Meier's series Renderings Sky (Rendings 04) by Ray...

Unique piece in this size More sizes and an Essay from Lyle Rexer about this series on request. Joachim Schmeisser’s work rescues photography from the centuries-old straightjacket ...

ABOUT THIS ARTIST: Igor Vitomirov has over 15 years experience of working in photography. He loves nature and people and expressing their interactions w...

This handmade cyanotype monotype presents a serene, atmospheric landscape composed of softly layered mountain forms rendered in nuanced shades of blue. Through the cyanotype process,...

Living in a Dream (Till Death do us Part) - 2005 20x20cm, Edition of 10, Archival C-Print print, based on the Polaroid. Certificate and Signature label, artist Inventory No. 9781. Not mounted. on offer is a piece from the movie "Till Death do us Part" Stefanie Schneider’s Till Death Do Us Part or “There is Only the Desert for You.” BY DREW HAMMOND Stefanie Schneider’s Til Death to Us Part is a love narrative that comprises three elements: 1. A montage of still images shot and elaborated by means of her signature technique of using Polaroid formats with outdated and degraded film stock in natural light, with the resulting im ages rephotographed (by other means) enlarged and printed in such a way as to generate further distortions of the image. 2. Dated Super 8 film footage without a sound track and developed by the artist. 3. Recorded off-screen narration of texts written by the actors or photographic subjects, and selected by the artist. At the outset, this method presupposes a tension between still and moving image; between the conventions about the juxtaposition of such images in a moving image presentation; and, and a further tension between the work’s juxtaposition of sound and image, and the conventional relationship between sound and image that occurs in the majority of films. But Till Death Do Us Part also conduces to an implied synthesis of still and moving image by the manner in which the artist edits or cuts the work. First, she imposes a rigorous criterion of selection, whether to render a section as a still or moving image. The predominance of still images is neither an arbitrary residue of her background as a still photographer—in fact she has years of background in film projects; nor is it a capricious reaction against moving picture convention that demands more moving images than stills. Instead, the number of still images has a direct thematic relation to the fabric of the love story in the following sense. Stills, by definition, have a very different relationship to time than do moving images. The unedited moving shot occurs in real time, and the edited moving shot, despite its artificial rendering of time, all too 2009often affords the viewer an even greater illusion of experiencing reality as it unfolds. It is self-evident that moving images overtly mimic the temporal dynamic of reality. Frozen in time—at least overtly—still photographic images pose a radical tension with real time. This tension is all the more heightened by their “real” content, by the recording aspect of their constitution. But precisely because they seem to suspend time, they more naturally evoke a sense of the past and of its inherent nostalgia. In this way, they are often more readily evocative of other states of experience of the real, if we properly include in the real our own experience of the past through memory, and its inherent emotions. This attribute of stills is the real criterion of their selection in Til Death Do Us Part where consistently, the artist associates them with desire, dream, memory, passion, and the ensemble of mental states that accompany a love relationship in its nascent, mature, and declining aspects. A SYNTHESIS OF MOVING AND STILL IMAGES BOTH FORMAL AND CONCEPTUAL It is noteworthy that, after a transition from a still image to a moving image, as soon as the viewer expects the movement to continue, there is a “logical” cut that we expect to result in another moving image, not only because of its mise en scène, but also because of its implicit respect of traditional rules of film editing, its planarity, its sight line, its treatment of 3D space—all these lead us to expect that the successive shot, as it is revealed, is bound to be another moving image. But contrary to our expectation, and in delayed reaction, we are startled to find that it is another still image. One effect of this technique is to reinforce the tension between still and moving image by means of surprise. But in another sense, the technique reminds us that, in film, the moving image is also a succession of stills that only generate an illusion of movement. Although it is a fact that here the artist employs Super 8 footage, in principle, even were the moving images shot with video, the fact would remain since video images are all reducible to a series of discrete still images no matter how “seamless” the transitions between them. Yet a third effect of the technique has to do with its temporal implication. Often art aspires to conflate or otherwise distort time. Here, instead, the juxtaposition poses a tension between two times: the “real time” of the moving image that is by definition associated with reality in its temporal aspect; and the “frozen time” of the still image associated with an altered sense of time in memory and fantasy of the object of desire—not to mention the unreal time of the sense of the monopolization of the gaze conventionally attributed to the photographic medium, but which here is associated as much with the yearning narrator as it is with the viewer. In this way, the work establishes and juxtaposes two times for two levels of consciousness, both for the narrator of the story and, implicitly, for the viewer: A) the immediate experience of reality, and B) the background of reflective effects of reality, such as dream, memory, fantasy, and their inherent compounding of past and present emotions. In addition, the piece advances in the direction of a Gesammtkunstwerk, but in a way that reconsiders this synaesthesia as a unified complex of genres—not only because it uses new media that did not exist when the idea was first enunciated in Wagner’s time, but also because it comprises elements that are not entirely of one artist’s making, but which are subsumed by the work overall. The totality remains the vision of one artist. In this sense, Till Death Do Us Part reveals a further tension between the central intelligence of the artist and the products of other individual participants. This tension is compounded to the degree that the characters’ attributes and narrated statements are part fiction and part reality, part themselves, and part their characters. But Stefanie Schneider is the one who assembles, organizes, and selects them all. THE RELATIONSHIP BETWEEN THIS IDEA (above) AND PHOTOGRAPHY This selective aspect of the work is an expansion of idea of the act of photography in which the artistic photographer selects that which is already there, and then, by distortion, definition or delimitation, compositional and lighting emphasis, and by a host of other techniques, subsumes that which is already there to transform it into an image of the artist’s contrivance, one that is no less of the artist’s making than a work in any other medium, but which is distinct from many traditional media (such as painting) in that it retains an evocation of the tension between what is already there and what is of the artist’s making. Should it fail to achieve this, it remains, to that degree, mere illustration to which aesthetic technique has been applied with greater or lesser skill. The way Til Death Do Us Part expands this basic principle of the photographic act, is to apply it to further existing elements, and, similarly, to transform them. These additional existing elements include written or improvised pieces narrated by their authors in a way that shifts between their own identities and the identities of fictional characters. Such characters derive partially from their own identities by making use of real or imagined memories, dreams, fears of the future, genuine impressions, and emotional responses to unexpected or even banal events. There is also music, with voice and instrumental accompaniment. The music slips between integration with the narrative voices and disjunction, between consistency and tension. At times it would direct the mood, and at other times it would disrupt. Despite that much of this material is made by others, it becomes, like the reality that is the raw material of an art photo, subsumed and transformed by the overall aesthetic act of the manner of its selection, distortion, organization, duration, and emotional effect. * * * David Lean was fond of saying that a love story is most effective in a squalid visual environment. In Til Death Do Us Part, the squalor of the American desert...

Unique piece in this size More sizes and an Essay from Lyle Rexer about this series on request. Joachim Schmeisser’s work rescues photography from the centuries-old straightjacket ...

Unique piece in this size More sizes and an Essay from Lyle Rexer about this series on request. Joachim Schmeisser’s work rescues photography from the centuries-old straightjacket ...

Mid-Century Shapes X is a captivating cyanotype monotype that draws on the visual language of mid-century abstraction. Featuring fluid, interlocking forms rendered in rich Prussian b...