Horizontal 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 ...

In Nine Lives, a unique monotype cyanotype, layered organic forms unfold across a diptych in a measured sequence of repetition and variation. Soft transitions of blue and white gener...

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 ...

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...

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 ...

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...

This handmade abstract cyanotype diptych features layered blue tones intersected by elongated white forms that move rhythmically across the surface. Subtle shifts in color and soft, ...

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 ...

"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 ...

Edition 15, framed Chromaluxe Original 1972 Porsche 911 Targa A man with x-ray vision, NICK VEASEY creates art that shows what it is really like inside. Nick’s work with radiograph...

This is an exclusive handprinted unique cyanotype that takes its inspiration from the mid-century modern minimalist shapes. "Drift Apart" it's made by layering paper cutouts and diff...

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...

"Essence of Life" is a part of Christopher Kennedy's "Trees Revered" series. Please note that the image without the frame is a better representation of the actual image. "This parti...

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 ...

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 ...

Stunning green abstract photograph reminiscent of Ikat fabric by Janet Van Arsdale (American, 20th Century). Signed in pencil lower left corner. Presented in black frame with double ...

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...

Abstract landscape sepia toned photograph of clouds on a sky horizon Japanese Kozo paper infused with encaustic on 4 panels, each panel is 36 inc...

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...

Is a project that debates through the photographic image, the importance that humans have assigned to ourselves, and proposes a reconciliation with the reality of our own insignifica...

Aerial view of Muhammad Ali victorious after round 3 knockout of Cleveland Williams during fight at Astrodome, November 14, 1966 24 x 20 in. (61 x 51 cm) Archival Digital C-Print ...

Archival pigment ink print, produced in a limited edition of 7 // Gallery ID: 21218 Fine art prints are produced to order on Hahnemühle Photo Rag Baryta. Each print is stamped on the...

"Autumn Magnolia No. 1" Abstract still life photograph of deep plum Magnolia petals and green leaves against a white sky background Photograph printed on Japanese Kozo paper infused ...

Stefanie Schneider's work was used for Marc Forster's movie 'Stay'. Featuring Ewan McGregor, Naomi Watts, and Ryan Gosling. Naomi and Ryan were both portraying artists and Stefanie's...

Though it resembles a giant abstract watercolor painting owing to its soft gradations and luminous quality, this is a form of photography called a cyanotype, photogram or sun print. ...

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...

Deep Mirroring Forest 005 is a limited-edition photograph by German contemporary artist Bernhard Lang. This photograph is sold unframed as a print only. It is available in 6 dimens...

Aerial Views, Tulip Fields 05 is a limited-edition photograph by German contemporary artist Bernhard Lang. Available dimensions and editions: - 60 x 75 cm: edition of 10 - 96 x 120 ...

Baltic Ice, Peipsi Jaerv 015 is a limited-edition photograph by German contemporary artist Bernhard Lang. This photograph is sold unframed as a print only. It is available in 5 dim...

This is an exclusive handprinted unique cyanotype that takes its inspiration from the mid-century modern minimalist shapes. "Better Together" it's made by layering paper cutouts and ...

In a delicate smear of faded blues intermingled with the curves and lines of the pale colors of the skin, Alex Sher’s “Brushstroke” uncovers his phenomenal ability to capture the tr...

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...

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...

LA Parking by Frank Schott a burst of red in an urban landscape of striking minimalism from a series of photographs capturing the mid century modern architecture and architectural el...

Stars 5, 2014 - Stars and Trees in Ancient English Woodland and Forest Landscape by Ellie Davies Stars 5 by Ellie Davies is a stunning Digital C-Type Print on Fuji Maxima Matte pape...

Blue abstract photograph from Richard Heeps' series Trading Paint. Richard Heeps has a history of photographing Drag Racing in the UK, America and Europe. Trading Paint is a term tha...

Zupan combines images from old masters, alchemical prints, contemporary artists, and bits from magazines and newspapers to create overlapping, intersecting worlds of transparencies 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 ...

This handmade monotype cyanotype presents a serene composition of layered blue forms that evoke distant mountain ridges dissolving into atmosphere. Built through subtle tonal transit...

Blue Diamond is a unique handmade cyanotype diptych on watercolor paper. Its layered gradients of deep indigo and radiant white form a luminous diamond shape, blending geometric prec...

"Sanctuary" This award-winning, best-selling image highlights the surreal relationships within mother nature. The print series Dunes: Landscapes Evolving documents the magnificent...

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 is an exclusive handprinted limited edition cyanotype. This beautiful diptych is titled "Low Tide in Northern Waters", and depicts abstract flowing ocean ripples at low tide. ...

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...

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

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...

Woven Spiral is an exclusive handmade cyanotype diptych that features modern, abstract rocky shapes rendered in deep indigo tones. Each panel captures the raw texture and organic geo...

Stars 7, 2015 - Stars and Trees in Ancient English Woodland Forest Landscape by Ellie Davies Stars 7 by Ellie Davies is a stunning Digital C-Type Print on Fuji Maxima Matte paper, a...

Large scale photograph of mesmerizing monochromatic emerald surface abstraction, from a series of photographic observances capturing urban textures and color palettes Wallscape VII (Green Door) by Frank Schott 48 x 60 inches / 122cm x 152cm signed edition of 7 32 x 40 inches / 81cm x 102cm signed edition of 25 archival quality fine art pigment print limited art edition published by Edition EKTAlux artist signed + numbered certificate of authenticity ________________________ About the artist: Frank Schott grew up in Germany and attended the prestigious Academy of Arts in Cologne, studying under Professor Arno Jansen, who was an early influence. Moving to California in 1998, Schott's work has evolved to include the epic landscapes and deserts of the American West as well as architectural, conceptual and more formal environments from both home and his travels. Influenced by a number of photographic piers and precursors such as Candida Höfer, Andreas Gursky. Thomas Struth. Jeff Wall, Hiroshi Sugimoto, Steven Shore...

The artist's computer-generated paintings merge craftsmanship and technology, creating an eclectic and unique style. Through her art, she aims to illuminate the world. Tcherassi's w...

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 ...

Edition 9 Framed Chromaluxe X-Ray of a 1959 Porsche 365B Coupe. A man with x-ray vision, NICK VEASEY creates art that shows what it is really like inside. Nick’s work with radiogra...

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 ...

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...