Jo Whaley

Cithaerias

Molly’s current photographic work explores themes of memory, the passage of time, a sense of place, and the natural world, using both painting and photography. Her unique silver gela...

THE THEATER OF INSECTS Insects depicted larger than life, approach a human scale. One can confront them face to face and wonder at their structure and designs. In these images, the...

THE THEATER OF INSECTS Insects depicted larger than life, approach a human scale. One can confront them face to face and wonder at their structure and designs. In these images, the...

Put simply, I have begun to look inward to find my images. As I began using large format cameras and utilizing antique and obsolete photographic processes, I also began to reject the...

Unique Collage Printed on Canson Platine Fiber Rag Framed in black wood with archival mat This image is from Sarah Hadley's series The Whispering Dark, about her unusual childhood ...

This image is from Sarah Hadley's series Lost Venice. Each photograph is hand printed on Canson Baryta Paper, and is signed and editioned by the artist. Sarah Hadley is a Los Angel...

Limited edition Lambda Chromogenic Print mounted on Dibond (an aluminum substrate) with UV Acrylic. Also available on Archival Pigment Print on Hahnemuhle Photo Rag Paper Edition Size: 10 plus 2 AP *Please inquire for additional sizes* “Agua Nacida,” meaning “water born” in Spanish, is a unique collection of large-scale underwater nudes by renowned fashion and beauty photographer Hugh Arnold...

Linarejos Moreno Art Forms in Mechanism XX, 2016 archival digital print on Baryta paper, ed. 1/3 75-5/8 x 51-1/4 inches “Art Forms in Mechanism” began when artist Linarejos Moreno discovered a collection of 19th century botanical models while researching at the Cabinet of Scientific Curiosities, a Spanish historical archive. Manufactured by a European company that specialized in scientific equipment, the models are made of papier-mâché, gears, clips, hooks, and printed numbers and labels, and they were designed for hands on, practical use. Moreno was initially attracted to the models because, as she notes, “they contained the tension between the industrial and the humanity/fragility that I often research in my work. On the one hand, they were machines, with all their gears, on the other hand, even if they were supposed to be neutral scientific objects...