Fresh Perspectives

Untitled (Desktop Dining no. 3), 2016 “The series is a look at contemporary office lunches and I photographed a wide range of offices in the US from trading floors...

Edition of 2 The stunning fine art portraits by fine art photographer Laurentina Miksys have been described as opulent, timeless, and emotionally expressive. When they have a soul,...

This print features the playful relationship between natural forms and botanicals. In this image Erin uses the natural composition of the pink and blush of the Peony, and her own col...

`In;Human Nature` Oslo, 2016 In this series, Christian Houge is inspired by our endeavour to connect Man to both the Cosmos and the Earth. By exploring Nature`s geometry in minero...

This print features the playful relationship between natural forms and botanicals. In this image Erin uses the natural composition of the pink and purple elements, and her own collag...

Edition of 2 Vintage lens The stunning fine art photography by photographer Laurentina Miksys have been described as opulent, timeless, and emotionall...

Myriad / copper base is a metallic Lambda photographic print, optionally mounted to Plexiglass, laser cut to shape, and fitted with a hidden subframe, ready to install. Work can be supplied unmounted and ready to frame if you’d prefer. The work is individually signed and numbered verso, with both a unique catalogue raisonné number and the edition number for guaranteed authenticity. From an edition of 12 Image size ⋅ 80cm H x 80cm W . Myriad is a study based on a number of ideas for processing digitally drawn sculptural forms, that I was keen to explore further for my Generator show. The drawing progresses from a circular core to a square form at its outer edges, literally squaring the circle. The whole form becoming redolent of a 12” record, perhaps a white label, or similar unbranded sleeve often used for limited releases and remix EPs, a format which of course comprises a circular vinyl disc...

Edition of 5 The stunning fine art photography by photographer Laurentina Miksys have been described as opulent, timeless, and emotionally expressive. When they have a soul, image...

This print features the playful relationship between natural forms and botanicals. In this image Erin uses the natural composition of the yellow and green fritillary, and her own col...

Psyche D / EvH is a metallic Lambda photographic print, optionally mounted to Plexiglass, laser cut to shape, and fitted with a hidden subframe, ready to install. Work can be suppli...

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...

All available sizes & editions for each size of this photograph: 90 cm. x 120 cm. Edition 7 126 cm. x 170 cm. Edition 7 `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 on several occasions with my previous series for both Earth, Power and Fire 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...

Halcyon / cerulean glaze is a metallic Lambda photographic print, optionally mounted to Plexiglass and Dibond, and fitted with a hidden subframe, ready to install. The edition may al...

Palm trees slowly moving in the breeze. Abstract black and white landscape photograph of palm trees, printed by hand in a traditional darkroom on fiber based gelatin silver paper. Si...

`Residence of Impermanence` 2017-2019 90x120 cm. Edition 7 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 on several occasions with my previous series for both Earth, Power and Fire 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...

Edition of 1 The stunning fine art portraits by fine art photographer Laurentina Miksys have been described as opulent, timeless, and emotionally expressive. When they have a soul...

This print features the playful relationship between natural forms and botanicals. In this image Erin uses the natural composition of the pink and green ranunculus, supportive white ...

`In;Human Nature` Oslo, 2016 In this series, Christian Houge is inspired by our endeavour to connect Man to both the Cosmos and the Earth. By exploring Nature`s geometry in minerology, the outer landscapes of the Moon are juxtaposed to inner landscapes on Earth. Rare minerals...

This print features the playful relationship between natural forms in aging botanicals. In this image Erin uses the natural composition of the pink, peach, blush, and yellow faded zi...

This print features the playful relationship between natural forms and botanicals. In this image Erin uses the natural composition of the ivory and greens of the Fritillaria, and her...

This print features the playful relationship between natural forms and botanicals. In this image Erin uses the natural composition of the purple and white iris, and her own collage w...

This print features the playful relationship between natural forms and botanicals. In this image Erin uses the natural composition of the orange Peony, and her own collage work, to c...

Edition of 2/5 The stunning fine art portraits by fine art photographer Laurentina Miksys have been described as opulent, timeless, and emotionally expressive. When they have a so...

Contemporary abstract black and white photograph In its infancy, an organism is pure and malleable. Maturation inherently means encountering outside influences: environments, shifts,...

This print features the playful relationship between natural forms and botanicals. In this image Erin uses the natural composition of the pink and white Magnolia, and her own collage...

90 x 120 cm Edition 7 `Residence of Impermanence` 2017-2019 My performance series, `Residence of Impermanence`, explores our relationship to animals, fire and Nature. Through the...

Elemental / white crest is a metallic Lambda photographic print, optionally mounted to Plexiglass and Dibond, and fitted with a hidden subframe, ready to install. Work can be suppli...

Edition of 1/2 The stunning fine art portraits by fine art photographer Laurentina Miksys have been described as opulent, timeless, and emotionally expressive. When they have a so...

This print features the playful relationship between natural forms and botanicals. In this image Erin uses the natural composition of the peach and yellows of the flower, and her own...

This print features the playful relationship between natural forms and botanicals. In this image Erin uses the natural composition of the greens and whites of the Fritillaria, and pi...

This print features the playful relationship between natural forms and botanicals. In this image Erin uses the natural composition of the orange Alstroemeria (Peruvian Lily), and her...

Edition of 1/5 The stunning fine art portraits by fine art photographer Laurentina Miksys have been described as opulent, timeless, and emotionally expressive. When they have a so...

This print features the playful relationship between natural forms and botanicals. In this image Erin uses the natural composition of the pink Ranunculus, and her own collage work, t...

Untitled (LSU no. 8), 2012 From a series of photos that capture the spectacle and revelry of American sports culture. This work documents the legendary football rivalry between LSU ...

Untitled (Cheerleading no. 45), 2002 For several years, artist Brian Finke, traveled across the country photographing high school and college-level cheerleaders and football players...

Black and white fine art long exposure waterscape - landscape photography print. Waterfall detail with stones and rocks, long exposure. Archival pigment ink print, edition of 5. Sign...

This is Untitled #28 from the Nature of Particles series. The Nature of Particles series consists of abstract photographs of ordinary particulates, that we observe in our everyday s...

"Windy Solitude" This best-selling image features a single horse on Sable Island as he looks back at the camera. " The print series Discovering the Horses of Sable Island documents...

Black and white fine art long exposure waterscape - landscape photography. Archival pigment ink print as part of a limited edition of 9. All Gerald Berghammer prints are made to orde...

Limited Edition Color Photograph 1/10 - Lonesome Road, Utah 2018. Taken on extensive photographic travel through the West in 2018. About Howard Lewis:...

Untitled (Christy, Southwest Airlines), 2004 Flying the friendly skies, Brian Finke spent three years, on and off, photographing flight attendants o...

Emma in Botafogo, Rio de Janeiro, 1984 Pão de Açucar, (Sugarloaf Mountain), Rio’s defining landmark looms in the background. Photographed by Jonathan Becker Contemporary 14" x 14.5...

"Untitled 13" This award-winning image features the bond between a Nyangatom mother as she nurses her child. The tribe’s women pride themselves on their high stacks of necklaces wh...

Untitled (Coachella no. 14), 2018 Rihanna’s pool party at Coachella. Signed, numbered, and dated (archival label, verso) Digital Pigment Print 30 x 30 in, edition of 4 20 x 20 in,...

Black and white fine art long exposure waterscape - landscape photography. Archival pigment ink print as part of a limited edition of 9. All Gerald Berghammer prints are made to orde...

Limited Edition Color Photograph - Still Life, Desert Botanical 2016. This image is called Thorny Affair. The photographer was influenced by several ...

Black and white fine art long exposure waterscape - landscape photography print. Rocks in the surf at the Atlantic Ocean in France. Archival pigment ink print, edition of 9. Signed, ...

Untitled (Sex Machine no. 5), 2015 Photographed at a hedonism resort in Jamaica in 2015. Signed, numbered, and dated (archival label, verso) Digital Pi...

© Gerald Berghammer - Limited edition of 7. Archival fine art pigment print. Signed, titled, dated and numbered by artist. Certificate of authenticity included. Printed with 4cm whi...

Untitled (Porn Carnival no. 4), 2019 This story documents the book launch for writer, activist, and sex-worker legend Rachel Rabbit White’s first collection of poetry, Porn Carnival...

Untitled (Circus no. 6), 2004 Signed, numbered, and dated (archival label, verso) Digital Pigment Print 30 x 30 in, edition of 4 20 x 20 in, edition of 9 15 x 15 in, edition of 20 ...

Black and White Fine Art landscape photography. Blue Agave, plant, detail, Arizona, USA. Archival pigment ink print, edition of 9. Signed, titled, dated and...

Flight Attendants powerHouse Books, 2008 112 pages, 10.25 x 10.25 in 51 color photographs Signed, $125 Flying the friendly skies, Brian Finke began photographing flight attendants as he crisscrossed the country on Delta, JetBlue, Hawaiian, Hooters Air, Southwest, and Song airlines before going abroad on Air France, Qantas, and British Airways. In London, he visited a flight attendant school, complete with emergency rafts and billowing smoke. Continuing east, Finke traveled Air Asia, Thai, Tiger, ANA, Japan, and Cathay Pacific...

Edition 1/2 The stunning fine art portraits by fine art photographer Laurentina Miksys have been described as opulent, timeless, and emotionally expressive. When they have a soul, ...

© Gerald Berghammer - Limited edition of 7. Archival fine art pigment print. Signed, titled, dated and numbered by artist. Certificate of authenticity included. Printed with 4cm whit...

Gerald Berghammer - Limited edition of 9. Archival fine art pigment print. Signed, titled, dated and numbered by artist. Certificate of authenticity included. Printed with 4cm white ...

Limited Edition Color Photograph - Architects of Time #4 Still Life, Composite, This is Untitled #4 from the Architects of Time series. This series is a visual exploration about how...

Untitled (Zumba no. 1), 2012 Signed, numbered, and dated (archival label, verso) Digital Pigment Print 30 x 30 in, edition of 4 20 x 20 in, edition of 9 15 x 15 in, edition of 20 P...