Carmen de Vos

Fisherman's Friend (Odd Sories)

2012

'Patron Saint Petra' (Odd Stories) - Edition of 25, 2011 Archival Print, mounted on black mdf, matte coating, dimensions 15x11,3cm (the second image shows a sample piece mounted) han...

2 Stefanie Schneider's Minis from the Beachshoot: The Diva and the Boy signed on front, not mounted Lambda digital Color Photographs based on original expired Polaroid photographs P...

Stefanie Schneider's Minis 'Runaway' (Haley and the Birds) - 2013 signed and signature brand on verso Lambda digital Color Photographs based on a Polaroid Polaroid sized open Editi...

Stefanie Schneider's Minis Blue Bridge (Stranger than Paradise), 1999 Signed and signature brand on verso. Lambda digital Color Photographs based on a Polaroid. Sandwiched in betwee...

Stefanie Schneider's Minis - The size of a Polaroid. Untitled #8 (Beachshoot), 2005. Lambda digital Color Photographs based on the Polaroid. Signed and signature brand on verso. ...

'Amaluna's Day Off #22' [From the series Cirque du Soleil] 50x50cm, Edition 1/7, 2015 / 2018 Art print based on an expired Polaroid mounted on Dibond 0,2mm - 50x50cm - gloss coating...

Underwater photograph of a gorgeous girl with dark hair in red dress. Original digital print on aluminum plate signed by the artist. Limited edition of 12 The artwork is furnished w...

"Sand Storm" Fine Art Photography 42" x 56" in Ed 4/7 by Viktorija Pashuta 2016 Signed and numbered by the artist Digital print on wood panel. 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...

Archival Pigment Print Edition of 25 Frame size: 26.5 x 23 inches This photograph is a digital reproduction of an original 8 x 10" polaroid that was manipulated by hand. Add...

Archival inkjet print mounted on aluminum Signed and numbered, verso 12 x 18 inches (Edition of 10) 20 x 30 inches (Edition of 7) 30 x 35 inches (Edition of 3) This artwork is offered by ClampArt, located in New York City. Pipo Nguyen-duy writes: “I began living in the United States in 1975 as a Vietnamese refugee. Consequently, cultural identity and cultural authenticity are some of the underlying themes of my visual explorations. Additionally, site-specificity has been an integral part of my studio practice, as I always consider geographical, historical, and cultural significance of the locations in my research. “From 2015 to 2017, I made photographs from my hotel window in Ho Chi Minh City, District 1. The second-floor window offered a commanding view of the alley where it widened before the sharp left turn located under my hotel where it became narrow again. The alley served as a short cut between the congested street where it began and ended at a crowded market. What separated my camera from the alleyway was the large glass window to dampen the noise and the thin white curtain for privacy. I spent close to six months in this sixty-four square-foot hotel room, photographing obsessively from six in the morning until late at night, only taking breaks to eat or to sleep. During my process, I remained as objective as a scientist gathering visual data. The camera tripod allowed me to keep the same perspective of the scenes outside my window throughout the day. “With this work, I aim to document, as if from the perspective of a natural scientist or archeologist. Using the camera to record facts rather than regarding it as a subjective tool, I have become increasingly intrigued with the idea of mapping my ‘own’ culture in hopes of understanding it from an outsider’s point of view using the hotel room as a metaphor for an in-between place. The window curtain was the variable that changed, in addition to the light, which also varied throughout the day. The curtain was a literal veil to the world and the culture outside my window. It serves as a metaphor for the lack of clarity and insight that I may have of my culture. From the alley I am hidden or visible depending on how wide the curtain was kept and the time of the day. The neatly arranged architecture seen from my window illustrated the rich history and the complex transition of the Vietnamese culture from French colonial, to American modernist, to contemporary high-rise. “The project began as a survey to categorize different types of people, record gestures and behavior, map traffic patterns, and capture ‘decisive’ moments of street scenes below. Conceptually, I intended this mapping project only to reveal my difficulties of defining home—however as the project grew, the complexities of the images also have become more layered. The first image of the series revealing a man masturbating at 6:00 a.m. while leaning against his scooter below the hotel window addresses the voyeuristic nature of the project. In one set of pictures...

Archival inkjet print mounted on aluminum Signed and numbered, verso 12 x 18 inches (Edition of 10) 20 x 30 inches (Edition of 7) 30 x 35 inches (Edition of 3) This artwork is offered by ClampArt, located in New York City. Pipo Nguyen-duy writes: “I began living in the United States in 1975 as a Vietnamese refugee. Consequently, cultural identity and cultural authenticity are some of the underlying themes of my visual explorations. Additionally, site-specificity has been an integral part of my studio practice, as I always consider geographical, historical, and cultural significance of the locations in my research. “From 2015 to 2017, I made photographs from my hotel window in Ho Chi Minh City, District 1. The second-floor window offered a commanding view of the alley where it widened before the sharp left turn located under my hotel where it became narrow again. The alley served as a short cut between the congested street where it began and ended at a crowded market. What separated my camera from the alleyway was the large glass window to dampen the noise and the thin white curtain for privacy. I spent close to six months in this sixty-four square-foot hotel room, photographing obsessively from six in the morning until late at night, only taking breaks to eat or to sleep. During my process, I remained as objective as a scientist gathering visual data. The camera tripod allowed me to keep the same perspective of the scenes outside my window throughout the day. “With this work, I aim to document, as if from the perspective of a natural scientist or archeologist. Using the camera to record facts rather than regarding it as a subjective tool, I have become increasingly intrigued with the idea of mapping my ‘own’ culture in hopes of understanding it from an outsider’s point of view using the hotel room as a metaphor for an in-between place. The window curtain was the variable that changed, in addition to the light, which also varied throughout the day. The curtain was a literal veil to the world and the culture outside my window. It serves as a metaphor for the lack of clarity and insight that I may have of my culture. From the alley I am hidden or visible depending on how wide the curtain was kept and the time of the day. The neatly arranged architecture seen from my window illustrated the rich history and the complex transition of the Vietnamese culture from French colonial, to American modernist, to contemporary high-rise. “The project began as a survey to categorize different types of people, record gestures and behavior, map traffic patterns, and capture ‘decisive’ moments of street scenes below. Conceptually, I intended this mapping project only to reveal my difficulties of defining home—however as the project grew, the complexities of the images also have become more layered. The first image of the series revealing a man masturbating at 6:00 a.m. while leaning against his scooter below the hotel window addresses the voyeuristic nature of the project. In one set of pictures...

Archival inkjet print mounted on aluminum Signed and numbered, verso 12 x 18 inches (Edition of 10) 20 x 30 inches (Edition of 7) 30 x 35 inches (Edition of 3) This artwork is offered by ClampArt, located in New York City. Pipo Nguyen-duy writes: “I began living in the United States in 1975 as a Vietnamese refugee. Consequently, cultural identity and cultural authenticity are some of the underlying themes of my visual explorations. Additionally, site-specificity has been an integral part of my studio practice, as I always consider geographical, historical, and cultural significance of the locations in my research. “From 2015 to 2017, I made photographs from my hotel window in Ho Chi Minh City, District 1. The second-floor window offered a commanding view of the alley where it widened before the sharp left turn located under my hotel where it became narrow again. The alley served as a short cut between the congested street where it began and ended at a crowded market. What separated my camera from the alleyway was the large glass window to dampen the noise and the thin white curtain for privacy. I spent close to six months in this sixty-four square-foot hotel room, photographing obsessively from six in the morning until late at night, only taking breaks to eat or to sleep. During my process, I remained as objective as a scientist gathering visual data. The camera tripod allowed me to keep the same perspective of the scenes outside my window throughout the day. “With this work, I aim to document, as if from the perspective of a natural scientist or archeologist. Using the camera to record facts rather than regarding it as a subjective tool, I have become increasingly intrigued with the idea of mapping my ‘own’ culture in hopes of understanding it from an outsider’s point of view using the hotel room as a metaphor for an in-between place. The window curtain was the variable that changed, in addition to the light, which also varied throughout the day. The curtain was a literal veil to the world and the culture outside my window. It serves as a metaphor for the lack of clarity and insight that I may have of my culture. From the alley I am hidden or visible depending on how wide the curtain was kept and the time of the day. The neatly arranged architecture seen from my window illustrated the rich history and the complex transition of the Vietnamese culture from French colonial, to American modernist, to contemporary high-rise. “The project began as a survey to categorize different types of people, record gestures and behavior, map traffic patterns, and capture ‘decisive’ moments of street scenes below. Conceptually, I intended this mapping project only to reveal my difficulties of defining home—however as the project grew, the complexities of the images also have become more layered. The first image of the series revealing a man masturbating at 6:00 a.m. while leaning against his scooter below the hotel window addresses the voyeuristic nature of the project. In one set of pictures...