Pigment Nude Photography

This is a series of black and white Nude abstract art photography (13 in series). Gallery exclusively presents this series of the human form - that which has inspired artists from ti...

No title (No 49) Photography 26 x 32 inch Edition of 25 by Yevgeniy Repiashenko This artwork is part of "Spirit" series. The picture shows a frozen movement of professional ballerin...

No title (No 24) Photography 32 x 32 inch Edition of 25 by Yevgeniy Repiashenko Year photo was taken: 2016 Photography Limited Edition of 25 Picture size: Height: 32" inch Width: 32...

Ed. 1/5, includes white frame. With his passion for formal technique and composition, internationally renowned photographer Nathan Coe’s works exude a deep reverence for the classic...

Untitled (Nr. 0232) Photography 18" x 24" Edition 2/24 by Ben Cope Unframed - ships rolled in a tube Ben Cope + Rowan Daly Off the Grid Off the Grid is the culmination of a six-...

Exposure, N`gone, Paris

"Three Graces" Art print Edition 3/25 36x36in by Yevgeniy Repiashenko "Three Graces" by Yevgeniy Repiashenko Year photo was taken: 2016 Art Print Limited Edition of 25 Picture size...

No title (No 10) Photography Edition of 28 36" x 29" in by Yevgeniy Repiashenko Year photo was taken: 2015 This artwork is part of "Spirit" series. The picture shows a frozen movem...

"No title (No 47)" Photography Ed. of 28 36" x 36" in by Yevgeniy Repiashenko Year photo was taken: 2016 This artwork is part of "Spirit" series. The picture shows a frozen movemen...

"No title (No 39)" Photography Ed. of 28 36" x 36" in by Yevgeniy Repiashenko Year photo was taken: 2016 This artwork is part of "Spirit" series. The picture shows a frozen movemen...

"No title (No 57)" Photography Ed. of 28 36" x 36" in by Yevgeniy Repiashenko Year photo was taken: 2017 This artwork is part of "Spirit" series. The picture shows a frozen movemen...

No title (No 31) Art print 36 x 36 inch Edition of 28 by Yevgeniy Repiashenko Year photo was taken: 2018 Art Print Limited Edition of 28 Picture size: Height: 36" inch Width: 36" i...

40x40in ed.18 Archival Pigment Print Mounted and Framed Also available in 48x48in and 60x60in. Limited edition signed print by Guido Argentini. Guido Argentini was born in Florenc...

Exposure, Minna, Milan

This is a series of black and white Nude abstract contemporary art photography (13 in series). Gallery exclusively presents this series of the human form - that which has inspired ar...

"Octopussy 07" Photography (FRAMED) 59" x 59" in Edition 2/10 by Giuliano Bekor Print size 59x59 Inches Artwork finished size 63x63 Inches Limited edi...

© Katie Eleanor, IV., Eye Infection As A Result Of Ingesting Poison Series: Saint Wanderer's Hospital, 2015 Archival Pigment Print of the hand Coloured Photograph on cotton fine art paper, custom frame 7 1/2 × 5 7/10 in 19 × 14.5 cm (unframed print) 35 x 30.5 cm (Framed : Museum mount-board, antireflective art glass in hardwood custom frame) Edition of 15 Framed or Unframed option available Saint Wanderer’s Hospital depicts a fictional tale birthed from the artist’s inherent need to find splendour in the idea of sickness. Rooted first from her own words, Katie used the idea of illustrating as a form of personal art therapy by immersing herself in the realm of the otherworldly characters. Every aspect of each scene was created by Katie alone, from building and designing the sets to printing and hand-colouring the final images. In this act, over the year long course of the projects creation, the artist managed to make certain turmoil in her personal life bearable. In the world of the hospital, the artist adapts the role of medical photographer – creating accurate portraits of each character’s condition as a record for the hospitals future use. The final series comprises of 8 ‘specimen cased...

Untitled (Nr. 7506) Photography 24" x 18" Ed. 2/20 by Rowan Daly Unframed - ships rolled in a tube Ben Cope + Rowan Daly Off the Grid Off the Grid is the culmination of a six-ye...

"Minnie/Mickey MM5" Photography (FRAMED) 50" x 40" in Ed. 1/8 by Giuliano Bekor This artwork printed on a highest resolution fine art Fujiflex Crystal archive silver halide paper. P...

No title (No 78) Photography Edition of 18 45" x 45" in by Yevgeniy Repiashenko No title (No 78) by Yevgeniy Repiashenko Year photo was taken: 2017 Limited Edition of 18 Picture size: Height: 45" inch Width: 45" inch This photo work is transported in a robust plywood case. This artwork is part of "Spirit" series. The picture shows a frozen movement of professional ballerina. Special glazed gold makeup is put on all over the body. This acrylic (Plexiglas) photo print is created with unique technology with 50mm transparent area around the picture and photo-clear contours. Mounting the photo under 6mm of glossy acrylic glass creates rich colors and strong contrasts and adds a clear sense of depth to the picture. Acrylic photo...

Hand printed photograph. Gum over platinum from an original colladian photograph by a master printer.

This is a series of black and white Nude abstract contemporary art photography (13 in series). Gallery exclusively presents this series of the human form - that which has inspired ar...

Edition 1 of 3, 2 APs Large size: 15.25 x 36 inches STATEMENT: e2, a collaboration between New Orleans artists Elizabeth Kleinveld and Epaul Julien, re-imagines iconic images from t...

"Geometry of Color N2" 40x30in Photography Edition 1/10 by Lika Brutyan "Geometry of Color N 2" 40" x 30" inch Original photography by Lika Brutyan from the ""Geometry of Color" s...

This is a series of black and white Nude abstract contemporary art photography (13 in series). We present this series of the human form - that which has inspired artists from time im...

Exposure, Margareth, Paris

Alina • 2009 • Edition of 18 prints in 3 different sizes. All prints are numbered and signed. Printed on Hahnemühle Archival Paper. Three different sizes are available, the series ...

Ghost Souls IV • 2022 • 2/12 • Edition of 18 prints in 2 different sizes. A collaboration of photographer Angelika Büttner and visual artist Laure Laferrerie. All prints are numbered and signed by both artists. Printed on Hahnemühle Archival Paper. Two different sizes are available, the series is limited to a total of 18 prints H 42.00. cm x W 29.70 cm - Edition of 12 - 1/12 to 12/12 H 59.40 cm x W 42.00 cm - Edition of 6 - 1/6 to 6/6 The artwork is sold unframed as a print only. • Renowned photographer Angelika Buettner and accomplished visual artist Laure Laferrerie join forces in a captivating creative collaboration, unveiling a mesmerizing series that seamlessly merges nude photography with the allure of digital paintings. Together, these visionary women embark on a duet of creation, capturing reflections of concealed female souls. Angelika Buettner's revealing eye and Laure Laferrerie's raw artistic gesture converge in a project that transcends whispers to explosive artistic expression. Having previously established a creative rapport through various editorial collaborations, Angelika Buettner and Laure Laferrerie draw inspiration from their deep understanding of each other. Their enchanting nude series delves into the depths of the soul, unveiling the eternal bond with our unique soul sisters...

"Minnie/Mickey MM19" Photography 48" x 48" inch Edition 1/10 by Giuliano Bekor This artwork printed on a highest resolution fine art Fujiflex Crystal archive silver halide paper. P...

"RA" Photography Edition 8/25 32" x 32" inch by Yevgeniy Repiashenko 2018 1st Place, 11th International Color Awards, Photographer Of The Year This artwork is part of "Spirit" seri...

"Approach" Art print 36" x 29" inch Edition of 25 by Yevgeniy Repiashenko Year photo was taken: 2018 Art Print Limited Edition of 25 Picture size: Height: 36" inch Width: 29" inch ...

Wand • 1985 • Edition of 18 prints in 3 different sizes. All prints are numbered and signed. Printed on Hahnemühle Archival Paper. Three different sizes are available, the series is ...

"Minnie/Mickey MM4" (FRAMED) Photography 50" x 40" in Ed. 1/8 by Giuliano Bekor This artwork printed on a highest resolution fine art Fujiflex Crystal archive silver halide paper. P...

"WH2" Photography 48" x 84" inch Edition 1/6 by Giuliano Bekor From WILD HORSES series Archival exhibition Giclee Baryta print Not framed. Ships in tube. WILD HORSES series A man, it is said, never forgets a great horse, nor the horse a great man. Put the thoroughbred, the draft horse, the Lipizzaner stallion, and the wild Mustang, into the same coral, and they act as equals – no blinders, no misery, no slavery. Man, though, must harness and lash the horse. In becoming the horse – wearing his mane, strapping on his saddle, chomping on his bit – his civilized skin peels away. A terrible beast is let loose. ABOUT THE ARTIST Internationally recognized photographer, Giuliano Bekor, holds a portfolio that includes work from the realms of fashion, beauty, celebrity, advertising, and fine art. Giuliano’s photography has been featured in top publications around the globe, and his client list includes an endless file of beauty industry leaders, advertising agencies, celebrities, producers, and artists. With 30 years in the industry, Giuliano has perfected his craft to an exceptional level of expertise. Composed of light, color, space and form, Giuliano brings ideas conceptualized in his own imagination into reality throughout his work. Currently living between New York and Los Angeles, Giuliano is often on the move traveling for work and inspiration. Always the restless visionary, he ceases to continually express his fresh and nuanced style. For Giuliano Bekor, a photograph is an image that comes into being consciously, composed of light, color, space and form. Like a painter, he sketches, refining ideas through pen and pencil well before the shutter clicks. A camera is strictly a means to an end, a way of making a palpable visual record of an idea that gestates in his mind, gains shape by his hand, and resolves through his eye as it peers through the lens. His subject is the human body, almost always nude. These images delve into the splendor of the body - how it can express the inner meaning of who we are. Limbs, torsos, muscles and bones are exposed as though carved out of a supple, glowing stone that flexes and twists. Many of these photographs feature subjects posed with the eyes obscured, the face covered. If we look closely, Bekor says, we can see that the body is as much a window into the soul as the eyes. This is a gallery of the soul etched into the forms we assume in the physical world. Through exaggerated contrast between light and dark, smooth and textured, vaporous and tactile, Giuliano deliberately filters the extraneous. The camera captures the image, but for Bekor each exposure is a transformation - of himself, his subjects, and us. He is digging into uneasy turf, fraught with tension: masculine/feminine, heroic/cowardly, shameless/shameful, eternal/fleeting. The intensity of detail, the fiercely exquisite perfection of the bodies themselves, the unflinching, scrupulous engagement of the lens, negates all pretense of politeness. Confronted, we are summoned to look. So we must. And we do. And we experience the beautiful human forms we inhabit and the silent, eloquent language they speak. EXHIBITION HIGHLIGHTS Giuliano Bekor’s most recent fine art photography solo shows include: 2019 - March Lips The cool HeArt gallery...

No title (No 58) Art print Edition of 28 29"x36" inch by Yevgeniy Repiashenko Year photo was taken: 2020 Art Print Picture size: Height: 29" inch Width: 36" inch * * * NOT framed...

"Solitude" Black & White Photography 40" x 30" inch Edition 1/12 by Ben Cope Not framed. Ships in a tube Ben Cope is a Georgia native graduating from Columb...

"E2" Photography 60" x 60" inch Edition 1/10 by Giuliano Bekor From ELEPHANT series Archival exhibition Giclee Baryta print Not framed. Ships in tube ELEPHANT series “I just fe...

"Hills" Photography print 16" x 24" inch Edition of 45 by Yevgeniy Repiashenko Year photo was taken: 2013 Unframed - ships in a tube This is an archival pigment print on photo paper with 1" float border (not included in listed image dimensions). Prints are signed and numbered by the artist on verso and come with a certificate of authenticity. Works are hand signed and numbered by the artist and come with a certificate of authenticity. This photo work is transported in a robust plywood case. ABOUT THE ARTIST Yevgeniy Repiashenko is a well-versed photographer working in such genres as dynamic dance and sculpture, portrait, and fashion...

"No title (No 28)" Photography 47x47 inch Edition of 18 by Yevgeniy Repiashenko No title (No 28) by Yevgeniy Repiashenko Year photo was taken: 2018 Art Print Limited Edition of 18 ...

Gabriel Wickbold Better naked than yours #5, 2017 32 x 32 inches 80 x 80 cm Edition of 15 47 x 47 inches 120 x 120 cm Edition of 15

"Flare" Nude Photography 36 x 36 inch Edition of 25 by Yevgeniy Repiashenko "Flare" by Yevgeniy Repiashenko Year photo was taken: 2013 Art Print Limited Edition of 25 Picture size:...

"Jeune Nuit" Photography Edition of 25 32" x 32" inch by Yevgeniy Repiashenko No title (No 14) by Yevgeniy Repiashenko Year photo was taken: 2017 Limited Edition of 25 Picture size: Height: 32" inch Width: 32" inch This photo work is transported in a robust plywood case. This artwork is part of "Spirit" series. The picture shows a frozen movement of professional ballerina. Special glazed black makeup is put on all over the body. This acrylic (Plexiglas) photo print is created with unique technology with 50mm transparent area around the picture and photo-clear contours. Mounting the photo under 6mm of glossy acrylic glass creates rich colors and strong contrasts and adds a clear sense of depth to the picture. Acrylic photo...

Ghost Souls II • 2022 • Edition of 18 prints in 32 different sizes. A collaboration of photographer Angelika Büttner and visual artist Laure Laferrerie. All prints are numbered and ...

We are all born from Mother Earth. Mimicking a plant or tree, a muscular man standing on his head emerges upward from the desert ground with is legs spread out like branches. Seen f...

"Hills" Black & White Photography Ed. of 18 24x36 inch by Yevgeniy Repiashenko Hills Photography Edition of 18 (24 x 36 inch) by Yevgeniy Repia...

No title (No 28) Photography Edition of 18 (45x45 inch) by Yevgeniy Repiashenko No title (No 28) by Yevgeniy Repiashenko Year photo was taken: 2018 Limited Edition of 18 Photography...

"Modernismo M33" Pop Art Photography 40" x 40" in Ed. 2/20 by Giuliano Bekor Print size 40x40 Inches Artwork finished size 42x42 Inches Limited edition 2 of 20 Artist proof 2 Medi...

Ed. 1/20, unframed print. Photographed in the picturesque "SoSo" neighborhood of West Palm Beach, "Tis the Season" is Nathan Coe's newest release for Christmas 2023. This work is av...

Ghost Souls III • 2022 • Edition of 18 prints in 3 different sizes. A collaboration of photographer Angelika Büttner and visual artist Laure Laferrerie. All prints are numbered and ...

Ghost Souls II • 2022 • Edition of 18 prints in 32 different sizes. A collaboration of photographer Angelika Büttner and visual artist Laure Laferrerie. All prints are numbered and ...

Okurimono Pigment Print About the work : Shibari I is a work by contemporary photographer Christian Houge, from the Okurimono series. In this series, Houge has, through five trips...

A hunched-over nude man on an endless sunset road conjures up big themes. Time, distance, life, death, rebirth, and infinity are weaved together in a purposely enigmatic and dreamli...

Okurimono Pigment Print Images from the Okurimono series is available in 3 different formats : * 50 x 75 cm : edition of 10 + (+2ap) * 80 x 120 cm : edition of 7 + (+2ap) * 113 x 170 cm : edition of 7 + (+2ap) Each print is numbered and signed About the work : Work by contemporary photographer Christian Houge, from the Okurimono series. In this series, Houge has, through five trips to Japan (Tokyo, Osaka and Kyoto), explored Japans otherworldly subculture and its ritualistic perfection. In this personal art documentary he has ventured into delicate themes such as personal identity, sexuality, longing and gender dysphoria. In this particular series, he uses staging as a method to create a story within a story. The viewers associations are important in meeting this work and ambiguity plays an important role. In this series, Houge has, through five trips to Japan (Tokyo, Osaka and Kyoto), explored Japans otherworldly subculture and its ritualistic perfection. In this personal art documentary he has ventured into delicate themes such as personal identity, sexuality, longing and gender dysphoria. In this particular series, he uses staging as a method to create a story within a story. The viewers associations are important in meeting this work and ambiguity plays a Okurimono (meaning both “gift” and “that which is in-between” in Japanese) - is a word that binds together this comprehensive project developed over five trips to Japan between 2007 and 2018. The series explores the personal pursuit of identity, at times with an underlying darkness as Houge had the chance to be introduced to Tokyo’s subculture. In exploring this theme, Houge has ventured into delicate matters such as sexuality, longing and gender dysphoria. In this particular series, he uses staging as a method to create a story within a story. The artist wishes to question the viewer and provoke a reflection on topics that are often seen as taboos in our contemporary societies. The viewer’s own associations are important in appreciating this work where ambiguity plays an important role. The project started in the Harajuku district of Tokyo which is known as a center of Japanese youth culture and where Houge found some of his first motifs: teenage girls dressing up in post-Victorian dresses or ‘cosplay’ costumes to identify with a character of their favorite comics. Here, the desire to express one’s uniqueness is central and the photographer explores the tension between personal identity and aesthetics shared by all (or at least by the same youth group). In many of his carefully staged photographs, Houge’s models are masked, so as to echo the many social masks we wear in our day-to-day lives. In our post-modern information society, drained of wonder, these enigmatic masked characters also evoke the world of shamans and pagan rituals, therefore injecting a sense of mystery and spirituality that many people are longing for. Symbolism and the many references to ritual and identity in an otherwise suppressed society, may at times create a sense of unease among viewers. The Okurimono project also explores the topic of identity and sexuality in gender dysphoria with Japan’s nyūhāfu (the transsexual ‘new halfs’). Here, the quest for identity coincides with a search of femininity and body image which results in complex physical transformations. Viewers may look at these portraits not having any clue that models are nyūhāfu. Yet, the photographs are staged so that viewers are placed in a disconcerting voyeuristic role while looking at otherwise closed world. Shibari (the art of tying), which originates from the Edo period (1600s), is another territory explored by Houge in his Okurimono series. His striking photographs of female models tied with red rope on a white background take us into this powerful journey into vulnerability and surrender, power and freedom. Through tradition, symbolism and technology, Okurimono also explores the hugely potent symbols that help define parts of Japanese culture and national identity, between old and new. As Art historian Erling Bugge put it: “Christian Houge guides us into a mystery. It resides between the ritualized shapes of the traditional and withdrawn Zen garden in Kyoto and the equally ritualized spaces of futuristic, urban Tokyo. For a westerner, Japan might look familiar, since what is held up for us looks like a futuristic spectacle somehow grounded in a western imagination. This judgment, however, is too easy. In Houge’s photographs, the sense of sameness withdraws and a very different feeling of strangeness creeps up on us. In fact, what this series registers is a remarkable place of alterity in today’s global order, a radical difference bang in the middle of the familiar.” The images of the Okurimono series share a ghostly, otherworldly quality. In reality and dream, ritual and play merge while the boundaries between the known and the unknown dissolve. Christian Houge – Now – Okurimono Christian Houge guides us into a mystery. It resides between the ritualized shapes of the traditional and withdrawn Zen garden in Kyoto and the equally ritualized spaces of futuristic, urban Tokyo. For a westerner, Japan might look familiar, since what is held up for us looks like a futuristic spectacle somehow grounded in a western imagination. This judgment, however, is too easy. In Houge’s photographs, the sense of sameness withdraws and a very different feeling of strangeness creeps up on us. In fact, what this series registers is a remarkable place of alterity in today’s global order, a radical difference bang in the middle of the familiar. This is pushed to the limit in the technological and virtual wonderland of Akihabara in Tokyo, where shop after shop trade in electronic products and computer games, while a weird costume play, “cosplay”, is being performed in streets. A similar kind of simulation is being acted out in the district of Harajuku, where Houge found some of his motifs. There is no authenticity here, no western “essence” or “reality”; instead, the virtual conquers the carnal body in a purified play of surface, image and the hyperreal. This is exotic. All the while as we are conscious of these notions as pinnacle points in a western idea of the post-modern. But in this sense Japan has always been “post-modern”. It has always integrated the most refined culture and technology from the outside while somehow retained an identity for itself. So, what would this identity be? Houge takes the view of ritual and play. Indeed, Japanese culture seems to be grounded solely on ritual, in business and in sex, in its relation to nature and in religion. This play transcends the notion of authenticity altogether, unlike the West which is haunted by the “ghost” of origin and beginnings. In Japan, “now” would mean just that; it is a “no looking back”, but rather a flow of intensities integrated in the play and ritual of the ever-present, okurimono. There is no threat of being eaten up by western culture and technology here, for, like in Zen practice, the ritual oversees everything and has no historical drag. Japan becomes weightless, shot into orbit outside the material of earth itself. Is acting out the role as Lewis Caroll’s Victorian girl driven by a sense of nostalgia? I think not. It is a striving for a moment of perfected presence, in dialogue with Houge’s optical machine. It is the moment of Now. The girl, the Zen garden and the image shares in a perfection modified by small uncertainties, coincidental imperfections that become somewhat oblique points of entry for us - a discarded handkerchief or seemingly unremarkable shapes and reflections in the prismatic play of surfaces. There is a ghostly, otherworldly quality in these images, even in the fleeting blossoming cherrytree and the play of shadows across a concrete minimalism. The doubly exposed or reflected light on the lens reminds us of the uncertain beginnings in photography’s history, with its widespread belief that the camera was able to perceive more than the naked eye, like spirits and ghosts. In Houge’s images there are different specters, skeletal, natural shapes on the one hand, the machine and the virtual on the other. Here, like some scene from the film Blade Runner, there is an uncanny confusion and mix between the human and non human. Maybe the search for a perfect moment in the perpetual flow of things is a romantic or melancholic longing for transcendent wholeness, a drive that is harnessed in a rigorous attention to visual detail. This compulsive discipline might seem absurd to any western observer, while longing itself form a common ground and will ultimately be the basis in our meeting. Erling Bugge Bio: Christian Houge (born in Oslo 1972) Based in Oslo, Norway, I have been making photographs for over twenty years and new insights continue to open. By exploring the relation, and conflict, between Nature and culture, I get a better understanding about Mans` condition. I am interested in the consequences of Humankinds progression and how science often is the result of our conquering of Nature, both on Earth and beyond. Mans` ego, consumer society, the last remnants of pure Nature and identity are recurring elements in my work. I often juxtapose the visually aesthetic with an underlying uneasiness. This often emanates a cognitive dissonance in the viewer to invite deeper truths and personal references. Looking at our actions and place in environment, which we are so dependent on, is a recurring theme in all my exploration and can use everything from digital cameras to large format and panoramic analog cameras for specific projects. I have exhibited extensively in galleries and museums in my native country Norway, as well as the US, England, France and China. The series `Death of a Mountain`(2016-2021) is nominated for the 2021 Leica Oskar Barnack Award, as well as receiving an arts grant from Norwegian Arts Council. Most recently, my series `Residence of Impermanence` 2017-2019 has been exhibited at five museums and several galleries already (including a solo show at Fotografiska, Stockholm (2019), and Les Recontres d`Arles, Haugar Artmuseum, Preus Muaeum of Photography and 2019 (Galerie Omnius, Arles). In 2021, this series received ten nominations for the Prix Pictet Award with the theme FIRE. `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 forest fires due to climate change. In 2005, my series `Arctic Technology`, was shortlisted for the BMW Prize at Paris Photo (Scout Gallery, London). In 2015, my series `Paradise Lost`(containing three of my main environmental series) toured between three large museums in China. My other environmental work has been nominated for the annual Prix Pictet Award twice, with my series, `Barentsburg` and `Shadow Within`, 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 work has been shown in numerous museums, including a symposium at Johnson Museum, N.Y., was included in traveling exhibitions with WHATCOM (Museum of Washington) with the exhibition `Vanishing Ice`, as well as a two-year museum tour in China environmental issues with Three Shadows Photography Art Centre in Beijing and the Norwegian Embassy. Publications/books include `Vanishing Ice`and `Altered Landscape` (Nevada Museum of Art), including purchased work for their collection at Center for Art and Environment. Selected exhibitions CV: Christian Houge (born in Oslo 1972) - Curriculum Vitae 2021 `As far as my Eye can Sea – The Expedition Exhibition` Rev Ocean, Bomuldsfabrikken Kunsthall, Arendal `Facing Fire`, Collaborative, UCR ARTS:California Museum of Photography Continuation `Death of a Mountain`/ In;Human Nature`, Buer Gallery, Oslo 2020 `Facing Fire`, Collaborative, UCR ARTS:California Museum of Photography 2019 `Metafysica`, `Residence of Impermanence`,collaborative, Haugar Kunstmuseum, Vestfold `Residence of Impermanence`, Fotografiska Museum, Stockholm. Solo `Helt Dyrisk` Residence of Impermanence`, collaborative, Preus Museum, Horten `Residence of Impermanence`, Galleri Fineart, Oslo. Solo 2017 `Shadow Within/Rituals` Gulden Kunstverk, Drammen. Solo Commission, MAAEMO restaurant. `In;Human Nature` `Mirror,Mirror` Hosfelt Gallery, San.Fran. Collaborative w/Ed Ruscha, Adam Fuss, Liliana Porter 2016 `In;Human Nature`, TM51 Gallery, Oslo. Solo Fotofever/ParisPhoto, Louvre, Paris Cornette de Saint Cyr, Auction, Paris 2015 Three Shadows Photography Art Center, Beijing, China. `Paradise Lost` . `Arctic Technology/Barentsburg`/ Shadow Within. Solo Fotofever (ParisPhoto), Artistics Art Gallery, Paris. Collaborative How Art Museum, Wenzhou, China. `Paradise Lost` Arctic Technology/Barentsburg/Shadow Within. Solo Redtory, Guangzhou, China. `Paradise Lost` Arctic Technology/Barentsburg/Shadow Within. Solo 2014 Fineart Gallery, Oslo `Shadow Within` 2010-2013 / `Darkness Burns Bright` 2013/2014. Solo Beyond Earth Art • (contemporary artists and the environment) Johnson Museum of Art, New York. Shadow Within. Collaborative (incl. Olafur Eliasson, Edward Burtynsky, Mathew Brandt, Yun-Fei Ji amongst others) The El Paso Museum of Art, Texas. `Arctic Technology`. Collaborative Glenbow Museum, Alberta. `Arctic Technology`. Collaborative LIFF (Lofoten International Photofestival) `Shadow Within` w/speaking. Solo 2013 Nominated for the Prix Pictet Award/ `Shadow Within`. Hosfelt Gallery, San.Fran. USA. `Shadow Within`. Solo Accompanied by Call of the Wild`( Joseph Beuys, Ed Ruscha, Patricia Piccinini and Alan Rath...

Okurimono Pigment Print Images from the Okurimono series is available in 3 different formats : * 50 x 75 cm : edition of 10 + (+2ap) * 80 x 120 cm : edition of 7 + (+2ap) * 113 x 170 cm : edition of 7 + (+2ap) Each print is numbered and signed About the work : Work by contemporary photographer Christian Houge, from the Okurimono series. In this series, Houge has, through five trips to Japan (Tokyo, Osaka and Kyoto), explored Japans otherworldly subculture and its ritualistic perfection. In this personal art documentary he has ventured into delicate themes such as personal identity, sexuality, longing and gender dysphoria. In this particular series, he uses staging as a method to create a story within a story. The viewers associations are important in meeting this work and ambiguity plays an important role. In this series, Houge has, through five trips to Japan (Tokyo, Osaka and Kyoto), explored Japans otherworldly subculture and its ritualistic perfection. In this personal art documentary he has ventured into delicate themes such as personal identity, sexuality, longing and gender dysphoria. In this particular series, he uses staging as a method to create a story within a story. The viewers associations are important in meeting this work and ambiguity plays a Okurimono (meaning both “gift” and “that which is in-between” in Japanese) - is a word that binds together this comprehensive project developed over five trips to Japan between 2007 and 2018. The series explores the personal pursuit of identity, at times with an underlying darkness as Houge had the chance to be introduced to Tokyo’s subculture. In exploring this theme, Houge has ventured into delicate matters such as sexuality, longing and gender dysphoria. In this particular series, he uses staging as a method to create a story within a story. The artist wishes to question the viewer and provoke a reflection on topics that are often seen as taboos in our contemporary societies. The viewer’s own associations are important in appreciating this work where ambiguity plays an important role. The project started in the Harajuku district of Tokyo which is known as a center of Japanese youth culture and where Houge found some of his first motifs: teenage girls dressing up in post-Victorian dresses or ‘cosplay’ costumes to identify with a character of their favorite comics. Here, the desire to express one’s uniqueness is central and the photographer explores the tension between personal identity and aesthetics shared by all (or at least by the same youth group). In many of his carefully staged photographs, Houge’s models are masked, so as to echo the many social masks we wear in our day-to-day lives. In our post-modern information society, drained of wonder, these enigmatic masked characters also evoke the world of shamans and pagan rituals, therefore injecting a sense of mystery and spirituality that many people are longing for. Symbolism and the many references to ritual and identity in an otherwise suppressed society, may at times create a sense of unease among viewers. The Okurimono project also explores the topic of identity and sexuality in gender dysphoria with Japan’s nyūhāfu (the transsexual ‘new halfs’). Here, the quest for identity coincides with a search of femininity and body image which results in complex physical transformations. Viewers may look at these portraits not having any clue that models are nyūhāfu. Yet, the photographs are staged so that viewers are placed in a disconcerting voyeuristic role while looking at otherwise closed world. Shibari (the art of tying), which originates from the Edo period (1600s), is another territory explored by Houge in his Okurimono series. His striking photographs of female models tied with red rope on a white background take us into this powerful journey into vulnerability and surrender, power and freedom. Through tradition, symbolism and technology, Okurimono also explores the hugely potent symbols that help define parts of Japanese culture and national identity, between old and new. As Art historian Erling Bugge put it: “Christian Houge guides us into a mystery. It resides between the ritualized shapes of the traditional and withdrawn Zen garden in Kyoto and the equally ritualized spaces of futuristic, urban Tokyo. For a westerner, Japan might look familiar, since what is held up for us looks like a futuristic spectacle somehow grounded in a western imagination. This judgment, however, is too easy. In Houge’s photographs, the sense of sameness withdraws and a very different feeling of strangeness creeps up on us. In fact, what this series registers is a remarkable place of alterity in today’s global order, a radical difference bang in the middle of the familiar.” The images of the Okurimono series share a ghostly, otherworldly quality. In reality and dream, ritual and play merge while the boundaries between the known and the unknown dissolve. Christian Houge – Now – Okurimono Christian Houge guides us into a mystery. It resides between the ritualized shapes of the traditional and withdrawn Zen garden in Kyoto and the equally ritualized spaces of futuristic, urban Tokyo. For a westerner, Japan might look familiar, since what is held up for us looks like a futuristic spectacle somehow grounded in a western imagination. This judgment, however, is too easy. In Houge’s photographs, the sense of sameness withdraws and a very different feeling of strangeness creeps up on us. In fact, what this series registers is a remarkable place of alterity in today’s global order, a radical difference bang in the middle of the familiar. This is pushed to the limit in the technological and virtual wonderland of Akihabara in Tokyo, where shop after shop trade in electronic products and computer games, while a weird costume play, “cosplay”, is being performed in streets. A similar kind of simulation is being acted out in the district of Harajuku, where Houge found some of his motifs. There is no authenticity here, no western “essence” or “reality”; instead, the virtual conquers the carnal body in a purified play of surface, image and the hyperreal. This is exotic. All the while as we are conscious of these notions as pinnacle points in a western idea of the post-modern. But in this sense Japan has always been “post-modern”. It has always integrated the most refined culture and technology from the outside while somehow retained an identity for itself. So, what would this identity be? Houge takes the view of ritual and play. Indeed, Japanese culture seems to be grounded solely on ritual, in business and in sex, in its relation to nature and in religion. This play transcends the notion of authenticity altogether, unlike the West which is haunted by the “ghost” of origin and beginnings. In Japan, “now” would mean just that; it is a “no looking back”, but rather a flow of intensities integrated in the play and ritual of the ever-present, okurimono. There is no threat of being eaten up by western culture and technology here, for, like in Zen practice, the ritual oversees everything and has no historical drag. Japan becomes weightless, shot into orbit outside the material of earth itself. Is acting out the role as Lewis Caroll’s Victorian girl driven by a sense of nostalgia? I think not. It is a striving for a moment of perfected presence, in dialogue with Houge’s optical machine. It is the moment of Now. The girl, the Zen garden and the image shares in a perfection modified by small uncertainties, coincidental imperfections that become somewhat oblique points of entry for us - a discarded handkerchief or seemingly unremarkable shapes and reflections in the prismatic play of surfaces. There is a ghostly, otherworldly quality in these images, even in the fleeting blossoming cherrytree and the play of shadows across a concrete minimalism. The doubly exposed or reflected light on the lens reminds us of the uncertain beginnings in photography’s history, with its widespread belief that the camera was able to perceive more than the naked eye, like spirits and ghosts. In Houge’s images there are different specters, skeletal, natural shapes on the one hand, the machine and the virtual on the other. Here, like some scene from the film Blade Runner, there is an uncanny confusion and mix between the human and non human. Maybe the search for a perfect moment in the perpetual flow of things is a romantic or melancholic longing for transcendent wholeness, a drive that is harnessed in a rigorous attention to visual detail. This compulsive discipline might seem absurd to any western observer, while longing itself form a common ground and will ultimately be the basis in our meeting. Erling Bugge Bio: Christian Houge (born in Oslo 1972) Based in Oslo, Norway, I have been making photographs for over twenty years and new insights continue to open. By exploring the relation, and conflict, between Nature and culture, I get a better understanding about Mans` condition. I am interested in the consequences of Humankinds progression and how science often is the result of our conquering of Nature, both on Earth and beyond. Mans` ego, consumer society, the last remnants of pure Nature and identity are recurring elements in my work. I often juxtapose the visually aesthetic with an underlying uneasiness. This often emanates a cognitive dissonance in the viewer to invite deeper truths and personal references. Looking at our actions and place in environment, which we are so dependent on, is a recurring theme in all my exploration and can use everything from digital cameras to large format and panoramic analog cameras for specific projects. I have exhibited extensively in galleries and museums in my native country Norway, as well as the US, England, France and China. The series `Death of a Mountain`(2016-2021) is nominated for the 2021 Leica Oskar Barnack Award, as well as receiving an arts grant from Norwegian Arts Council. Most recently, my series `Residence of Impermanence` 2017-2019 has been exhibited at five museums and several galleries already (including a solo show at Fotografiska, Stockholm (2019), and Les Recontres d`Arles, Haugar Artmuseum, Preus Muaeum of Photography and 2019 (Galerie Omnius, Arles). In 2021, this series received ten nominations for the Prix Pictet Award with the theme FIRE. `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...

Okurimono Pigment Print Images from the Okurimono series is available in 3 different formats : * 50 x 75 cm : edition of 10 + (+2ap) * 80 x 120 cm : edition of 7 + (+2ap) * 113 x...

The print is signed, dated, and numbered with an edition of 2/15. It's signed lower right recto. printed later. Other sizes are available and it's unframed. Printed on Hahnemühle F...

Taken at the Folsom Street Fair. BDSM Leather LGBTQ FETISH in Gay San Francisco. Can a street photograph be a grab shot and precisely designed simul...

Bruno Bisang NAOMI CAMPBELL for Swish, New York 1994 (P_013) 45 x 37.5 inches Archival Pigment Print / Black & white fine art Bartya / Color gloss resin coated Edition of 7 + 2 AP...