Color Pencil Photography

I begin with a silver photographic image, evidence. Then I paint on this in many transparent layers of oil paint and pencil. If I am lucky the media combing, and become enmeshed, a c...

I begin with a silver photographic image, evidence. Then I paint on this in many transparent layers of oil paint and pencil. If I am lucky the media combing, and become enmeshed, a c...

I begin with a silver photographic image, evidence. Then I paint on this in many transparent layers of oil paint and pencil. If I am lucky the media combing, and become enmeshed, a c...

Mixed Media work of a Texas national park called Big Bend. The work consists of a landscape photograph with color pencil drawing around the photograph that continues the landscape. T...

7-90-8, 1990 Gelatin silver print, photo with colored pencil 5 1/2 x 5 5/8 in. (14 x 14.5 cm) image Igor Savchenko was born in 1962 in Minsk, Belarus, in the former Soviet Union. Savchenko was one of the key figures of the Belarusian conceptual movement of the late Eighties, has had more than 20 solo shows in cities across Europe and the US. His photographs explore his relationship with photography, reality, memory and history. He has created conceptual and experimental works, frequently using photographs taken by amateurs in the 1930-1950s. Savchenko changes the meaning of the photos by re-photographing and re-framing them. He studied cybernetics and automatic control systems at the Belarusian State University of Informatics and Radioelectronics, and graduated in 1985 with a degree in electrical engineering. Until the early 1990s, he worked as an engineer in Minsk. Savchenko is also an avid scuba diver, having begun his training in 1980 with instructor Valery Burtsev in Minsk. In 2005, he participated in a deep-diving master class at the famous Blue Hole in South Sinai, Egypt. He has showed with Kevin Bubriski, Neil Folberg, Nicholas Hughes, Olivier Mériel, James Nicholls Prabir Purkayastha, Pentti Sammallahti, Igor Savchenko, George Tice and Jean Claude Wouters and many others In 1989 Savchenko began working as a photographer with Valery Lobko at the Creative Photography Studio. In 1990, he was awarded a prize by the Kodak-Pathe Foundation at the Salon Internationale de la Recherche Photographique in Royan, France. He received his first solo exhibition the following year at Galleri Index/Fotografi Centrum (now the Swedish Contemporary Art Foundation) in Stockholm, Sweden. From 1997 through 2005, he pursued various text-based and mixed media projects, and in 2006 he returned his focus to photography. In 2013, he received his first solo exhibition in Moscow at the Lumière Brothers Centre for Photography. Post Soviet Avant Garde, this work has a Dada, Arte Povera sensibility to it. Igor Savchenko lives and works in Minsk, Belarus. He is represented by Nailya Alexander Gallery in New York; by Giedre Bartelt Galerie in Berlin; and by Russian Tea Room (RTR) Gallery in Paris. SELECTED COLLECTIONS Fotografiska Museet - Moderna Museet, Swedish Museum of Photography, Stockholm, Sweden Fotomuseum München, Munich, Germany Fotomuseum Winterthur, Winterthur, Switzerland Kiasma Museum of Contemporary Art, Helsinki, Finland Moderna Museet (The Museum of Modern Art), Stockholm, Sweden Museum of Contemporary Art, Minsk, Belarus Museum of Fine Arts, Houston, Texas National Library of Belarus, Minsk, Belarus National Museum of Photography, Royal Library, Copenhagen, Denmark State Russian Museum, St. Petersburg, Russia Belarusian State Museum of History of the Great Patriotic War, Minsk Brandts Museet for Fotokunst, Odense, Denmark Galerie für Zeitgenössische Kunst, Leipzig, Germany The Baltimore Museum of Art, Baltimore, Maryland, USA The Hasselblad Collection, Gothenburg, Sweden The Lumiere Brothers Center for Photography, Moscow, 20th Century Russian Photography...

In a court of law, relying solely on memory is highly unreliable. Lydia Viscardi was drawn to these discarded trial documentation photographs of wrecked cars with the same fascinatio...

In a court of law, relying solely on memory is highly unreliable. Lydia Viscardi was drawn to these discarded trial documentation photographs of wrecked cars with the same fascinatio...

In a court of law, relying solely on memory is highly unreliable. Lydia Viscardi was drawn to these discarded trial documentation photographs of wrecked cars with the same fascinatio...