Antelope Figurative Photography

The American Dream abandoned in surburbia perhaps…. on the outskirts of its cities the reality of life can be both beautiful and harsh. – Cawston’s eye for colour, structure and the beauty of the mundane finds a world-in-waiting as he journeys across the American West. “The greatest part of a road trip is not the arriving but all the crazy stuff that happens along the way”. – A larger format bespoke edition is also available on request. This custom edition of 3 pieces is produced to a client’s specifications. Typically this is for pieces greater than 150cm and up to 230cm on the longest side. Please contact us for further details. Edition of 10 Presentation: Photographic print...

Burn to Shine, limited edition photograph, archival pigment, signed and numbered From Tom Chambers' series Animal Visions All my life I have held a fas...

Kingman Haunted #52, 2007 [From the series Schoffie] Published in her book The Eyes of the Fox, 2018 Digital color print based on original Polaroid on beautiful PHOTO RAG ULTRA SMO...

I present unspoken stories which illustrate fleeting moments in time and which are intended to evoke a mood in the viewer. These mythical illustrations might address the fragility of...

The American Dream abandoned in surburbia perhaps…. on the outskirts of its cities the reality of life can be both beautiful and harsh. – Cawston’s eye for colour, structure and the...

The Gamekeeper's Charge, limited edition photograph, archival, signed and numbered I present unspoken stories that illustrate fleeting moments in time and which are intended to evok...

Human and Animal Locomotion. Plate 693. Elk; galloping. 14 x 20 inch original vintage collotype print from 1887 Image size 9 1/4 x 12 1/8 inches Muybridge copyright imprint below i...

The Old Days  Photo - Animals is a black and white vintage photo, realized in the early 20th century.  It belongs to a historical album including historical moments, royal families,...

Elk is a Vintage Photograph was realized in the 1960s. Good conditions. Stamped on the rear.

Human and Animal Locomotion. Plate 750. Sloth; walking suspended on a horizontal pole. 14 x 20 inch original vintage collotype print from 1887 Image size7 3/4 x 13 3/4 inches Muybrid...

All available sizes & editions for each size of this photograph: 90 cm. x 120 cm. Edition AP 1 `Residence of Impermanence` 2017-2019 My performance series, `Residence of Impermanence`, explores our relationship to animals, fire and nature. Through the element of fire, I have found a way to express myself in totemic ritualistic performance by burning decaying trophy animals. The element of fire is very symbolic. It represents both destruction and creation. Animals and fire have, in many ways, formed our culture since the dawn of Mankind. They have also served as essential symbols in myth, spirituality, art and religion. Fire has protected us and given us hope. Given us a means to evolve in all culture. In Greek mythology, remember Prometheus. In the hand of Man, fire can be anything. It is our ethics that define it. We have always mirrored ourselves in Nature. What we see staring back at us may not be the image we were hoping for. This series is a reminder to where we have come regarding our relation to Nature and the huge effects of climatechange in the Anthropocene. My work often juxtaposes the visually aesthetic and uneasiness. An underlying feeling of that which is lost often plays an important role. I like to explore work themes that emanate a cognitive dissonance in the viewer to reveal more profound truths. I regard trophy animals as symbols of Man´s vanity and presumed victory over Nature. To me, they also serve as symbols of our general attitude towards Nature. The flames gives each animal a last breath of life as it creates a new portrait. The animal is set free again, ending a symbolic circle of life. A closure if you will, both physically and existentially. The English-inspired wallpapers represent imperialism and a colonial idea from a time when we were obsessed by conquering Nature and other lands. These too are burned with the animals symbolizing a protest toward our autocracy towards Nature itself. The repetitive performance of burning each animal serves as both an offering and a liberation. This is a violent act, but also a meaningful and beautiful act to me. The animals` personality changes dramatically throughout the burning process. This cannot be planned and therefore the animals give off a sense of further individuality. In the process of burning animals, I am also taking an object of desire off the market for further sales. An act that hopefully will spark dialog our use of Nature, as well as where we want to be heading in the near future. Dialog foments change and action. I spent seven years collecting old trophy animals and taxidermy of different sorts. Many were bought through auctions, while others were given to me by hunters` or the widows of hunters for this specific project. During the following three years, I went through a somewhat cathartic process of burning and obsessively exploring the symbolism of fire and our relation to animals with my performance. The intention with my series is to connect the public to the crucial matters at hand through something tangible, personal, and symbolic. These three years of working with this series has made me so much more conscious of how delicate nature is and how we have taken it for granted for too long. A reminder of how crucial both animals, fire and nature, for our so-called progress in survival and progress. Through this process, exploring new questions and inviting a larger audience to ask their own crucial questions in the massive global changes we all are witnessing, is what I strive for. Loss of animal diversity, poaching and massive forest fires are increasing so rapidly that Nature itself is at a major turning point. A call for action is needed. Working so close to the animals in my project has been as uplifting as it has been obsessive and heartbreaking, as the animal's eye connects with you on a personal level as a human does in non-verbal communication. In 2016, the government in Kenya burned poached ivory worth an estimated 130 million dollars, making a clear statement that these tusks should only belong to a living animal. This dramatic action created meaningful dialog around the world beyond news and statistics. Fires are destroying critical areas of much-needed land vegetation, thus creating considerable effects on climate change. The meeting between Nature`s fragility and Mans` ego has shown that forests disappear, glaciers are melting, sea levels are rising and species become extinct. Humans have too easily exploited all parts of nature with our own culture and growth. In this short process, we have lost the very essence of what we are a part, and thus forget the very nature in ourselves. What can photography do to create questions regarding climate change, and help us move towards a sustainable future? In photography, we can ask important questions about changes in our surroundings and who we are—Man’s condition. Background: `Residence of Impermanence` has been exhibited at five museums and several galleries already (including a big solo show at Fotografiska, Stockholm (2019), and Arles Fotofestival (2019). Work from `Residence of Impermanence' is currently exhibited at the UCR: California Museum of Photography in Los Angeles with the exhibition `Facing Fire,` Art, Wildfire and The End of Nature in the New West.` This exhibition explores the ever-worsening Californian forest fires due to climate change. My previous environmental work has been nominated for the Prix Pictet Award twice before with my previous series for both Earth and Power themes. In 2005, my series `Arctic Technology` was shortlisted for the BMW Prize at Paris photo (through Scout Gallery, London). My other series has been shown in museums, including a symposium at Johnson Museum, N.Y. and been part of travelling exhibitions with WHATCOM (Museum of Washington) with the exhibition `Vanishing Ice` and a China tour on environmental issues with Three Shadows Photography...

Patrick Chelli invents collections of photographs from different points of view, looking at the viewer at the back. In his new series, spectators are captured in galleries as they wa...

Black and White Image of a majestic deer photographed by David Yarrow. All prints are limited edition. Available in multiple sizes. High-end framing on request. All prints are done...

The Winter Season Jackson Hole, Wyoming - 2024 Archival Pigment Print on 315gsm Hahnemuhle Photo Rag Baryta Paper. Available Sizes: Standard 37" x 51" Unframed 52" x 66" Framed...

The Big Moose Jackson Hole, Wyoming - 2024 Archival Pigment Print on 315gsm Hahnemuhle Photo Rag Baryta Paper. Available Sizes: Standard 37" x 44" Unframed 52" x 59" Framed Edition of 12 Large 56" x 66" Unframed 71" x 81" Framed Edition of 12 “The grandeur of the Tetons has been celebrated by artists for 150 years. It was an integral part of Thomas Moran’s life and, of course, the mountain range played a material role in the photographic journey of Ansel Adams. His legacy still holds a tight grip on a Jackson Hole community hosting hundreds of capable photographers every week. As an artist, it is a place in which to enjoy the visual overload rather than attempt to break new ground; that would be a fine trick. I have long been an admirer of the photographer Tommy Mangelsen whose body of work is a love letter to this pocket of America. For many years we have shared the same New York Publisher - Rizzoli - and he sets a high bar with his body of authentic images in the Tetons and beyond. I have a good friend in Jackson, who, for many years, has made a living by ploughing snow on private roads in the winter months. It is his business to know every road in the community and in the days before my arrival he scouted the land either side of these single-track roads for big bull moose. They are not that hard to find in the area near Kelly - especially in late November and December - but I needed to be in situ very early in the day. It was never going to be easy to get a Cigar Shot as there needs to be a sense of place in any picture taken here. Not to include the Tetons in the frame would be akin to filming in Zermatt and not including the Matterhorn. They are on a par as backdrops. To have the Tetons as a canvas requires a high cloud...

A Herd of Wildbeest Running through Heavy Rain in the African Plains, photographed by David Yarrow in 2015. All prints are limited edition. Available in mu...

Closeup Portrait of a male Deer with Antlers, photographed by David Yarrow. All prints are limited edition. Available in multiple sizes. High-end framing on request. All prints are...

Inspired by her love for nature, Griet Van Malderen (Belgium, 1970), a self-taught wildlife photographer from Flanders in Belgium, has been exploring Africa’s wild places for the pas...