Cloud Landscape Photography

Edition 6/15 Archival pigment print “Water’s Edge” a collection of photos by Marian Crostic defines the power of the ocean and the land which borders it. Having spent much of her l...

Edition of 50 Signed, titled, dated and numbered. Keith Carter is an American photographer who is known for his dreamlike black and white photographs of the figure, animals, and mea...

Lambda digital-c print on Ilford Ilfoflex Archival Super Gloss, 2003. Signed, dated, titled, and numbered 2/2 on verso. In the series ‘Weights & Measures’ (2003) Andrew George turns...

Archival photo print under acrylic glass. Dimensions: 48 x 48 in. Depth: 1/4 in. Artist and photographer Paul-Émile Rioux lives in Montréal, Canada. His lifelong interest in cutti...

Archival photo print under acrylic glass. Dimensions: 48 x 48 in. Depth: 1/4 in. Artist and photographer Paul-Émile Rioux lives in Montréal, Canada. His lifelong interest in cutti...

Archival photo print under acrylic glass. Dimensions: 48 x 48 in. Depth: 1/4 in. Artist and photographer Paul-Émile Rioux lives in Montréal, Canada. His lifelong interest in cutti...

Archival photo print under acrylic glass. Dimensions: 48 x 48 in. Depth: 1/4 in. Artist and photographer Paul-Émile Rioux lives in Montréal, Canada. His lifelong interest in cutting-edge media technology as well as his expertise in photography cast him as pioneer in digital art and allow him to develop virtual matrix from which he extracts his images. In his works he explores a universe that lies at the crossroad of abstraction and the figurative, inviting the viewer to determine if what he sees is a reflection of reality or imagination. Through is truly unique approach RIOUX is one of the most innovative artists in digital creations and one of the few creative minds able to blend with such keenness aesthetics research and critical distance. Whether they translate into a Dantesque urbanity or the infinite horizon of a turquoise ocean, the urban territory reflected by his creations offers a dystopian view of the world, challenging our attitude towards the environment and the future. From the onset, RIOUX has no intention of matching IRL expectations of what digital art 'should' look like, but strives to play with our notions of what's real, what's not, how we remember, and how we infer meaning into imaginary visual constructs. --- RIOUX started the Cloud project in 2022. Paul-Emile Rioux’s series Cloud, like his other work, is a kind of aesthetic thought experiment. Each square image is bisected symmetrically, or nearly symmetrically, by a tidy horizon. The upper half display forms that appear as clouds, the bottom as an underwater seascape, yet at the same time mimics the cloudlike formations of above. Formally these works reference hard-edged abstraction, minimalism and abstract expressionism, though juxtaposed with a sort of Instagram lifestyle sensibility. When shown as a gridded series, they recall the Instagram account @insta_repeat which curates gridded typologies of nearly identical influencer photos – for instance sunsets on a beach, or campfires with hiking boot clad feet visible in the foreground, transforming images, which individually are meant to signify the good life, into symbols of stifling homogeneity, cynically trying to capitalize on mass-produced sensations. Unlike past movements in abstract or minimal art, however, Rioux is not striving to create self-contained objects, but windows into deeper currents that churn in the dark spaces where culture, technology and the subconscious flow together. Rioux’s digital works are not specifically images, but notes, ways of thinking. They connect to a larger discourse. With Clouds, Rioux thinks aloud about what is hidden and what is revealed in our relationships to technology and nature. It is a meditation on “the cloud,” which, like real clouds, seem immaterial, but in fact are physical and have a material impact on the world. Rioux considers the juxtaposition between weight and weightlessness – the apparent weightlessness of virtual reality, against the mass, the inescapability of the material world. Technology promises a world of lightness, connectivity and the bounty of limitless growth, or if it cannot quite muster that illusion, at least the offer of escape into a simulated universe of carnivalesque distraction shepherding us away from the environmental catastrophe our economic system inflicts on the earth. In this series Rioux asks us to reflect on what the clouds hide. There are 18 pieces in the Cloud collection. Each archival pigment print is produced under the supervision of the artist. The print is mounted under a single piece of 1/4"/ 6 mm gallery...

Archival photo print under acrylic glass. Dimensions: 48 x 48 in. Depth: 1/4 in. Artist and photographer Paul-Émile Rioux lives in Montréal, Canada. His lifelong interest in cutting-edge media technology as well as his expertise in photography cast him as pioneer in digital art and allow him to develop virtual matrix from which he extracts his images. In his works he explores a universe that lies at the crossroad of abstraction and the figurative, inviting the viewer to determine if what he sees is a reflection of reality or imagination. Through is truly unique approach RIOUX is one of the most innovative artists in digital creations and one of the few creative minds able to blend with such keenness aesthetics research and critical distance. Whether they translate into a Dantesque urbanity or the infinite horizon of a turquoise ocean, the urban territory reflected by his creations offers a dystopian view of the world, challenging our attitude towards the environment and the future. From the onset, RIOUX has no intention of matching IRL expectations of what digital art 'should' look like, but strives to play with our notions of what's real, what's not, how we remember, and how we infer meaning into imaginary visual constructs. --- RIOUX started the Cloud project in 2022. Paul-Emile Rioux’s series Cloud, like his other work, is a kind of aesthetic thought experiment. Each square image is bisected symmetrically, or nearly symmetrically, by a tidy horizon. The upper half display forms that appear as clouds, the bottom as an underwater seascape, yet at the same time mimics the cloudlike formations of above. Formally these works reference hard-edged abstraction, minimalism and abstract expressionism, though juxtaposed with a sort of Instagram lifestyle sensibility. When shown as a gridded series, they recall the Instagram account @insta_repeat which curates gridded typologies of nearly identical influencer photos – for instance sunsets on a beach, or campfires with hiking boot clad feet visible in the foreground, transforming images, which individually are meant to signify the good life, into symbols of stifling homogeneity, cynically trying to capitalize on mass-produced sensations. Unlike past movements in abstract or minimal art, however, Rioux is not striving to create self-contained objects, but windows into deeper currents that churn in the dark spaces where culture, technology and the subconscious flow together. Rioux’s digital works are not specifically images, but notes, ways of thinking. They connect to a larger discourse. With Clouds, Rioux thinks aloud about what is hidden and what is revealed in our relationships to technology and nature. It is a meditation on “the cloud,” which, like real clouds, seem immaterial, but in fact are physical and have a material impact on the world. Rioux considers the juxtaposition between weight and weightlessness – the apparent weightlessness of virtual reality, against the mass, the inescapability of the material world. Technology promises a world of lightness, connectivity and the bounty of limitless growth, or if it cannot quite muster that illusion, at least the offer of escape into a simulated universe of carnivalesque distraction shepherding us away from the environmental catastrophe our economic system inflicts on the earth. In this series Rioux asks us to reflect on what the clouds hide. There are 18 pieces in the Cloud collection. Each archival pigment print is produced under the supervision of the artist. The print is mounted under a single piece of 1/4"/ 6 mm gallery...

Archival photo print under acrylic glass. Dimensions: 48 x 48 in. Depth: 1/4 in. Artist and photographer Paul-Émile Rioux lives in Montréal, Canada. His lifelong interest in cutting-edge media technology as well as his expertise in photography cast him as pioneer in digital art and allow him to develop virtual matrix from which he extracts his images. In his works he explores a universe that lies at the crossroad of abstraction and the figurative, inviting the viewer to determine if what he sees is a reflection of reality or imagination. Through is truly unique approach RIOUX is one of the most innovative artists in digital creations and one of the few creative minds able to blend with such keenness aesthetics research and critical distance. Whether they translate into a Dantesque urbanity or the infinite horizon of a turquoise ocean, the urban territory reflected by his creations offers a dystopian view of the world, challenging our attitude towards the environment and the future. From the onset, RIOUX has no intention of matching IRL expectations of what digital art 'should' look like, but strives to play with our notions of what's real, what's not, how we remember, and how we infer meaning into imaginary visual constructs. --- RIOUX started the Cloud project in 2022. Paul-Emile Rioux’s series Cloud, like his other work, is a kind of aesthetic thought experiment. Each square image is bisected symmetrically, or nearly symmetrically, by a tidy horizon. The upper half display forms that appear as clouds, the bottom as an underwater seascape, yet at the same time mimics the cloudlike formations of above. Formally these works reference hard-edged abstraction, minimalism and abstract expressionism, though juxtaposed with a sort of Instagram lifestyle sensibility. When shown as a gridded series, they recall the Instagram account @insta_repeat which curates gridded typologies of nearly identical influencer photos – for instance sunsets on a beach, or campfires with hiking boot clad feet visible in the foreground, transforming images, which individually are meant to signify the good life, into symbols of stifling homogeneity, cynically trying to capitalize on mass-produced sensations. Unlike past movements in abstract or minimal art, however, Rioux is not striving to create self-contained objects, but windows into deeper currents that churn in the dark spaces where culture, technology and the subconscious flow together. Rioux’s digital works are not specifically images, but notes, ways of thinking. They connect to a larger discourse. With Clouds, Rioux thinks aloud about what is hidden and what is revealed in our relationships to technology and nature. It is a meditation on “the cloud,” which, like real clouds, seem immaterial, but in fact are physical and have a material impact on the world. Rioux considers the juxtaposition between weight and weightlessness – the apparent weightlessness of virtual reality, against the mass, the inescapability of the material world. Technology promises a world of lightness, connectivity and the bounty of limitless growth, or if it cannot quite muster that illusion, at least the offer of escape into a simulated universe of carnivalesque distraction shepherding us away from the environmental catastrophe our economic system inflicts on the earth. In this series Rioux asks us to reflect on what the clouds hide. There are 18 pieces in the Cloud collection. Each archival pigment print is produced under the supervision of the artist. The print is mounted under a single piece of 1/4"/ 6 mm gallery...

Archival photo print under acrylic glass. Dimensions: 48 x 48 in. Depth: 1/4 in. Artist and photographer Paul-Émile Rioux lives in Montréal, Canada. His lifelong interest in cutting-edge media technology as well as his expertise in photography cast him as pioneer in digital art and allow him to develop virtual matrix from which he extracts his images. In his works he explores a universe that lies at the crossroad of abstraction and the figurative, inviting the viewer to determine if what he sees is a reflection of reality or imagination. Through is truly unique approach RIOUX is one of the most innovative artists in digital creations and one of the few creative minds able to blend with such keenness aesthetics research and critical distance. Whether they translate into a Dantesque urbanity or the infinite horizon of a turquoise ocean, the urban territory reflected by his creations offers a dystopian view of the world, challenging our attitude towards the environment and the future. From the onset, RIOUX has no intention of matching IRL expectations of what digital art 'should' look like, but strives to play with our notions of what's real, what's not, how we remember, and how we infer meaning into imaginary visual constructs. --- RIOUX started the Cloud project in 2022. Paul-Emile Rioux’s series Cloud, like his other work, is a kind of aesthetic thought experiment. Each square image is bisected symmetrically, or nearly symmetrically, by a tidy horizon. The upper half display forms that appear as clouds, the bottom as an underwater seascape, yet at the same time mimics the cloudlike formations of above. Formally these works reference hard-edged abstraction, minimalism and abstract expressionism, though juxtaposed with a sort of Instagram lifestyle sensibility. When shown as a gridded series, they recall the Instagram account @insta_repeat which curates gridded typologies of nearly identical influencer photos – for instance sunsets on a beach, or campfires with hiking boot clad feet visible in the foreground, transforming images, which individually are meant to signify the good life, into symbols of stifling homogeneity, cynically trying to capitalize on mass-produced sensations. Unlike past movements in abstract or minimal art, however, Rioux is not striving to create self-contained objects, but windows into deeper currents that churn in the dark spaces where culture, technology and the subconscious flow together. Rioux’s digital works are not specifically images, but notes, ways of thinking. They connect to a larger discourse. With Clouds, Rioux thinks aloud about what is hidden and what is revealed in our relationships to technology and nature. It is a meditation on “the cloud,” which, like real clouds, seem immaterial, but in fact are physical and have a material impact on the world. Rioux considers the juxtaposition between weight and weightlessness – the apparent weightlessness of virtual reality, against the mass, the inescapability of the material world. Technology promises a world of lightness, connectivity and the bounty of limitless growth, or if it cannot quite muster that illusion, at least the offer of escape into a simulated universe of carnivalesque distraction shepherding us away from the environmental catastrophe our economic system inflicts on the earth. In this series Rioux asks us to reflect on what the clouds hide. There are 18 pieces in the Cloud collection. Each archival pigment print is produced under the supervision of the artist. The print is mounted under a single piece of 1/4"/ 6 mm gallery museum acrylic...

Archival photo print under acrylic glass. Dimensions: 48 x 48 in. Depth: 1/4 in. Artist and photographer Paul-Émile Rioux lives in Montréal, Canada. His lifelong interest in cutti...

From the series Blaze

Syoin KAJII (*1976, Japan) NAMI_HK06, 2023 Lambda Print with Diasec Face Also available as a Diptych (two works) Sheet 56 x 84 cm (22 x 33 1/8 in.) Edition of 6; Ed. no. 1/6 About ...

A deep blue sky with amber clouds reflect the red rock tones in this western landscape photograph. Edie Winograde captures an ambient feel to this landscape and relates the idea of ...

30 x 40 inch type-c print. Edition 25. Signed, titled and dated on verso. This was the cover image of a recent catalog published by the University of the Arts, Philadelphia, in conjunction with a solo exhibition of the artist's work. Throughout his career, David Graham, has produced photographic images infused with both compassion and humor, as he has documented the homes we have built, our lives both public and private, and a purely American expression of “freedom.” Graham was born in Abington, Pennsylvania, in 1952. He received a BA from The University of the Arts, and his MFA from the Tyler School of Art, both in Philadelphia. He studied under Ray K. Metzker and Will Larson, and was mentored by Emmet...

RISAKU SUZUKI (*1963, Japan) SAKURA 17,4-181 2017 Archival digital print Sheet 40.7 x 50.9 cm (16 x 20 in.) Edition of 5; Ed. no. 1/5 Framed The Sakura (Japanese term for ‘cherry blossoms’) Celebration commences in early spring and has inspired artists since the reign of the Emperor Saga in 8th century Japan. The impressive blooming of the trees after winter symbolizes hope and strength, but as the petals fall, one is reminded of the fragility of beauty and life itself. Risaku Suzuki’s painterly...

c. 44 x 55 inch archival pigment print. Edition of 15 (includes several different sizes - please inquire). Signed, titled, dated and editioned on frame label provided. Shipping cost...

Dominique TEUFEN (*1975, Switzerland) Light Breeze, from the series 'Rays of Light', 2020 Hahnemühle Fine Art Baryta Sheet 80 x 120 cm (31 1/2 x 47 1/4 in.) Edition of 5, plus 2 AP (...

A single house juts out into a vast sky and sea of Long Island. The image takes inspiration from the epic 19th-century paintings and the American West with vast unending sky and untamed landscapes. Yet the composition is quite radical and evocative of the simple shapes of Color Field painter Clyfford Still...

Over the last decade, Johnson has rigorously pursued the possibilities of timeline photography. His artwork captures the fluid gestures of Tai Chi and dance, the rush of cars, trains and people, and the infinite cycling of beachfront waves. But within his images the rules for representing reality have shifted. Shadows are crisscrossed and the relative speed of an object determines its size. Moving objects...

Magical moment of people on the beach with a rainbow in the sky. This archival color photograph by fine art photographer Mitchell Funk is signed, dated and numbered 2/15, lower righ...

NL-ZEE-ARN-D08 ARN/ZBE - Central Zeeland, Netherlands, 2021 Hardened by life on flat, open polders where strong winds have free rein, they set their eyes firmly on the blue horizon...

Born in Liverpool, England, Julian Lennon began his artistic trajectory at a young age with an inherent talent for playing musical instruments. Those talents would soon broaden into ...

Edition of 8 Bob Tabor's new series titled “Night Muse ”, plays on this fascination as he is able to capture, what he believes to be, the rebirthing energy incorporated in the moon ...

Erik MADIGAN HECK (*1983, United States) Clouds in Pond, 2019 Chomogenic print Sheet 152.4 x 101.6 cm (60 x 40 in.) Edition of 9 plus 2 artist's proofs (#2/9) print only Originally from Excelsior, Minnesota, Erik Madigan Heck (*1983) is one of the youngest and most promising American fashion photographers of the contemporary art scene. In his relatively short career the artist developed a personal way of looking at fashion, as Nathalie Herschdorfer underlines in her essay "Minimal and pure: Erik Madigan Heck fashion photographs". His work is characterized by a clear and distinctive treatment of colours and patterns, which makes it unequivocal. "Heck’s photographs push the concept to new limits, creating imagery that goes beyond traditional fashion photography. Meticulously constructed and enhanced with bright colours, blurring the line between the clothes and the background, his images play with this idea of ‘future’ silhouettes". – Nathalie Herschdorfer In 2017 Heck published his first monograph with Thames & Hudson and Abrams Books titled 'Old Future'. In his 'Old Future' series Madigan Heck explores the intersection of photography and painting as he borrows from and bends the genres of fashion photography, landscape painting and portraiture. Madigan Heck is a regular contributor to The New York Times...

All prints are limited edition. Available in multiple sizes. High-end framing on request. All prints are done and signed by the artist. The collector receives an additional certificate of authenticity from the gallery. The Isle of Skye is perhaps Watson's most personal series and marks a return to his country of origin. Transcending standard landscape photography, Isle of Skye is an homage to nature's beauty. Indulging the magical aura shrouding the island, Watson creates enchanted photographs that border on the impressionistic. Albert Watson has made his mark as one of the world’s most successful fashion and commercial photographers during the last four decades, while creating his own art along the way. Over the years, his striking images have appeared on more than 100 covers of Vogue around the world and been featured in countless other publications, from Rolling Stone to Time to Interview and Vibe _ many of the photographs iconic portraits of rock stars, rappers, actors and other celebrities. (Albert was the official Royal Photographer for Prince Andrew’s wedding to Sarah Ferguson...

Beach Photography, Ocean Photography, Black Sand Photography-Monolith 816 ABOUT THIS PIECE: Black Sand Beach Landscape Photography, "Monolith 816",...

The photographs are unframed. Born and raised in France, Anouk Masson Krantz moved to the United States in the late 1990's. Living in New York, she completed high school at the Lyc...

The photographs are unframed. Born and raised in France, Anouk Masson Krantz moved to the United States in the late 1990's. Living in New York, she completed high school at the Lyc...

The photographs are unframed. Born and raised in France, Anouk Masson Krantz moved to the United States in the late 1990's. Living in New York, she completed high school at the Lyc...

Lith developed gelatin silver print, toned with sepia and gold Signed, titled, dated, and numbered, verso 13 x 13 inches (Edition of 15) 17 x 17 inches (Edition of 15) This artwor...

Gold-toned gelatin silver print with 8-ply over-mat and mounted to archival, 4-ply Crescent Natural White mat board Signed and numbered, recto 25 x 30 inches, overall mat size 20 x ...

4600 Meters 3 25,67cm x 37cm Archival Pigment print on Hahnemuhle Phototorag Baryta 315gsm Edition: 5 plus 2 artist proofs Thought dances for freedom at Mount Everest...

Signed and numbered by the artist. This piece may be available in two sizes - 8 x 8 inches (approx.) and 15 x 15 inches (approx.), both silver gelatin prints, so please contact us. M...

Above the Clouds, Campo Imperatore, Abruzzo, Italy, 2015 - Michael Kenna Signed, dated and numbered on mount Signed, dated, inscribed with title and ...

There is perhaps something more profoundly iconic, mythological even, about the animals of East Africa, as opposed to say, the Arctic or South America). And there is also something i...

I'D RATHER LOOK AT CLOUDS "…Here we go alone and like it better so...Now lying recumbent…this incessant making up of shapes and casting them down…this incessant ringing up and dow...

I'D RATHER LOOK AT CLOUDS "…Here we go alone and like it better so...Now lying recumbent…this incessant making up of shapes and casting them down…this incessant ringing up and dow...

I'D RATHER LOOK AT CLOUDS "…Here we go alone and like it better so...Now lying recumbent…this incessant making up of shapes and casting them down…this incessant ringing up and down of curtains of light and shade, this interminable experiment with gold shafts and blue shadows, with viewing the sun and unveiling it, with making rock ramparts and wafting them away – this endless activity…One should not let this gigantic cinema [of clouds] play perpetually to an empty house…" Virginia Woolf On Being Ill This series began from my bed photographing clouds tripping along the horizon of the Jemez Mountains of New Mexico, home to Los Alamos National Laboratory. I had just moved to my small studio perched high that I’d cobbled together over several years. My casual cloud gazing immediately became part of a pain-lessening arsenal - and how lucky for me living in an amphitheatre with an unexpected generous subject – a nearly 24-hour a day theater. The title of this series comes from an exchange with a friend about war...

I'D RATHER LOOK AT CLOUDS "…Here we go alone and like it better so...Now lying recumbent…this incessant making up of shapes and casting them down…this incessant ringing up and dow...

Signed on the front. Contact gallery for prices and available sizes.

Signed, numbered and dated on front of the mount. Signed, dated, numbered and titled with artist's copyright stamp on back of the mount. Image size: 8 x 8 inches approximately. Over...

Signed, numbered and dated on front of the mount. Signed, dated, numbered and titled with artist's copyright stamp on back of the mount. Image size: 8 x 8 inches approximately. Over...

Signed, numbered and dated on front of the mount. Signed, dated, numbered and titled with artist's copyright stamp on back of the mount. Image size: 8 x 8 inches approximately. Over...

Signed on front of the mount. Edition number and date on back of the mount. Edition of 50. May be available in various sizes. Please contact the gallery as prices and availability ar...

Signed on front of the mount. Edition number and date on back of the mount. Edition of 50. May be available in various sizes. Please contact the gallery as prices and availability ar...

Signed on front of the mount. Edition number and date on back of the mount. Edition of 50. May be available in various sizes. Please contact the gallery as prices and availability ar...

Las Ninfas by Gustavo Ten Hoever.

Signed, stamped, dated and number on back of print.

Signed, stamped, dated and number on back of print.

Signed, stamped, dated and numbered on the back of the print. Edition of 15.

From the "Horizon" series. Archival digital pigment print. Available a few various sizes: 24 x 30 inches (edition of 15) 32 x 40 inches (edition of 7) 40 x 50 inches (edition of...

From the "Horizon" series. Archival digital pigment print. Available a few various sizes: 24 x 30 inches (edition of 15) 32 x 40 inches (edition of 7) 40 x 50 inches (edition of...

Single Boat, Kerala, Backwaters, India, 2008 - Michael Kenna (Black and White) Signed, dated and numbered on mount Signed, dated, inscribed with title and stamped with photographer'...