Sports Photography

The early hours in Jerez de la Frontera, the flamenco dancer’s tacones beat a rhythm as she drew the spirit of the duende from the earth into the souls of her audience. Andalusian f...

Tsemo Maitreya by James Sparshatt. Buddhist monastery in Ladakh. Platinum Print. Ladakh is part of the Tibetan plateau. It has an arid landscape surrounded by awesome peaks. Tsemo...

Les Vacances III The west coast of France is a place to eat delectable oysters, drink fine wines and walk along endless beaches in the glare of the summer sun. The Atlantic swell an...

Les Vacances I The west coast of France is a place to eat delectable oysters, drink fine wines and walk along endless beaches in the glare of the summer sun. The Atlantic swell and ...

Les Vacances II The west coast of France is a place to eat delectable oysters, drink fine wines and walk along endless beaches in the glare of the summer sun. The Atlantic swell and...

La Linea by James Sparshatt. Romantic photo of tango. Palladium Platinum Print. A line to be crossed… a man leads with strength and tenderness on the tango ...

La Linea by James Sparshatt. Romantic photo of tango. Palladium Platinum Print. A line to be crossed… a man leads with strength and tenderness on the tango ...

Digitally remastered photography of a painting by A. Katz. Artwork will be printed on highest quality photographic paper, glued onto an aluminium-dibond plate and covered with acryl...

10 Collage of a banana inspired by Andy Warhol motif in pop art style. C-print on aludi-bond behind acrylic glass (museum quality) Jochen's work is gaining traction with multiple awards in high-profile photography...

Series description: Images dealing with beauty and upheaval, brutality and optimism. Post World War II, a time when it seemed as if America was at the height of its power and also on the verge of spinning out of control. Issues in a world we still know and contend with today. Canada, Budapest, France...

An exuberance of colour in Brazil – The Spaces in Between series developed out of visits to Naples in Italy and Havana in Cuba, two cities whose past glo...

Ed. of 6

This photograph is an Edition of 30. All editions are signed by the photographer.

All editions signed by the photographer.

Havana, Cuba. All editions signed by the photographer.

Havana, Cuba. All editions signed by the photographer.

Woven Jacquard Chromogenic print H 160cm x W 127cm H 63¼" x W 50¼"

The bright colours of a cafe in a poor district of Salvador in Brazil. – The Spaces in Between series developed out of visits to Naples in Italy and Havana in Cuba, two cities whose ...

Politics Makes Strange Bedfellows 2005 / Printed 2014 Bromoil Print Signed and titled in Russian. Dated and numbered in pencil on verso. Edition of 15 18 x 18 inches.

Duffy is widely credited for having revolutionized the face of fashion photography, which defined the visual language of the swinging sixties in London. Duffy completed his training ...

Duffy is widely credited for having revolutionized the face of fashion photography, which defined the visual language of the swinging sixties in London. Duffy completed his training ...

Signed and editioned Edition of 5

Listing is for UNFRAMED print. Inquire within for framing. Edition of 20. CURRENT EXHIBITION - runs through December 31, 2017. Any framed photographs purchased during the show will be after December 31st. If the exhibition piece is sold or the customer orders a different print size, the photograph is produced upon purchase. Please allow two weeks for production. Shipping time depends on method of shipping. Price is subject to availability. The Robin Rice Gallery reserves the right to adjust this price depending on the current exhibition of the photograph. ABOUT The idyllic and playful world of The Peconic Bay in Southampton, NY dances to life in Luciana Pampalone’s first solo exhibition. Each location was scouted by Pampalone and transformed into a vintage 1930s setting by the use of her models and props. A Graphlex camera, aviator goggles, parasols, retro bathing suits and games of croquet, (just to name a few) subtly tamper with the past, breathing life back into the 1930s. Moment by moment, Pampalone encapsulates the ephemeral quality of life, bending and blending human subjects within the natural landscape. Never has a world of black and white looked so colorful. In the gallery installation, a red accent wall will emphasize the spirit and energy evoked by Pampalone’s black and white photographs. The strong compositions and delicate imagery of each photograph come together to transport us into a world of amusement and joy. “Smile”, the invitational image, let us in on the surreptitious but not-so-secret powers of Pampalone as director. The woman wielding the artist’s personal ‘30s Graphlex camera confronts the male model, embodying strength, poise and an engaging sense of playfulness. Her commanding presence draws him in until he is physically leaning towards her and becomes her subject. Strong and confident, the heroine radiates the eternal spirit of adventure. Pampalone’s love of photography started at the age of 16. She was inspired by the great artists, Helmut Newton and Deborah Tuberville...

Underwater photograph of a topless young woman in bright red dress. Original digital print on aluminum plate signed by the artist. Limited edit...

Color photography printed in high resolution on methacrylate, with a wooden frame on the back. The work is signed and numbered, includes a certificate of authenticity. The dimension...

Color photography printed in high resolution on methacrylate, with a wooden frame on the back. The work is signed and numbered, includes a certificate of authenticity. The dimension...

Analogue photo. Photography, printed on Aluminium Dibond. Edition of 3 + 1 artist proof. Walnut wood frame, 35 mm depth, 4 mm thickness. Bilhete de Identidade series In this series, Félix Mula...

Analogue photo. Photography, printed on Aluminium Dibond. Edition of 3 + 1 artist proof. Walnut wood frame, 35 mm depth, 4 mm thickness. Bilhete de Identidade series In this series, Félix Mula...

“It was shot on a grey misty day on Dungeness Beach in Sussex. Charlie Wood lit the sky rocket and stood to attention, and I fired the flashgun that was stuffed into his trousers to ...

Analogue photo. Photography, printed on Aluminium Dibond. Edition of 3 + 1 artist proof. Walnut wood frame, 35 mm depth, 4 mm thickness. Bilhete de Identidade series In this series, Félix Mula...

Miguel Milló builds complex compositions in which painting, sculpture, and the play of light and shadow combine to create subtle and poetic atmospheres. In his images, the human bein...

Analogue photo. Photography, printed on Aluminium Dibond. Edition of 3 + 1 artist proof. Walnut wood frame, 35 mm depth, 4 mm thickness. Bilhete de Identidade series In this series, Félix Mula...

Analogue photo. Photography, printed on Aluminium Dibond. Edition of 3 + 1 artist proof. Walnut wood frame, 35 mm depth, 4 mm thickness. Bilhete de Identidade series In this series, Félix Mula...

Gelatin silver print 9 3/4 x 7 7/8 in 24.9 x 20.1 cm Printed by Radar Publikationen and Edition K.L.A.G. credit stamps verso. Photographers credit stamp verso.

Analogue photo. Photography, printed on Aluminium Dibond. Edition of 3 + 1 artist proof. Walnut wood frame, 35 mm depth, 4 mm thickness. Bilhete de Identidade series In this series, Félix Mula...

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...

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 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. The images from the Okurimono- series is available in 3 different formats : 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 More work will be sent from the artistry request. christian at soulfood no 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...

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...

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...

`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...

`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 hav...

`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 hav...

Color photography printed in high quality on matte photographic paper. The dimensions are 21 x 30cm. Claudia Ferreiro (Santiago de Compostela, 1996) explores memory and identity li...

'Emergence' Limited edition archival photograph. Unframed, hand signed and numbered ________________________________ From your cocoon my darling, Your wings are emerging: Delicate ...

Not one to shy away from human representation, Pia Clodi’s more portraiture-like works continually offer the sitter an air of anonymity, and as such the viewer has the opportunity to...

Gabriel Vorbon 2021 Photography Edition of 1 + 1 AP 50 x 50 cm

Gabriel Vorbon 2021 Photography Edition of 1 + 1 AP 50 x 50 cm Local Taxes and Shipping Included

João Teixeira 2021 Oil on canvas 40 x 40 cm

Dreams of a moment… James Sparshatt’s photographs of music and dance capture the emotion and intensity of people lost in the rhythm of the moment. The work is available as silver g...

There is a something about being a child on the beach where the sheer exuberance of running into the waves transcends the normal social barriers, and the shared exhilarance allows fo...

C-Print mounted on aluminum and framed. Edition of 5 Signed, numbered and titled on label. Various sizes available. 120 x 100 cm (47,2'' x 39,3'' Inches) - € 12.500 150 x 120 cm (5...

C-Print mounted on aluminum and framed. Edition of 5 Signed, numbered and titled on label. Various sizes available. 120 x 100 cm (47,2'' x 39,3'' Inches) - € 12.500 150 x 120 cm (5...

C-Print mounted on aluminum and framed. Edition of 5 Signed, numbered and titled on label. Various sizes available. 120 x 100 cm (47,2'' x 39,3'' Inches) - € 12.500 150 x 120 cm (5...

The washing lines and bright colours of a backstreet in New Delhi – Cawston won the BJP Nikon Endframe Award in 2009. His prize was funding for a dream project and he chose to travel...