Olivier Attar Photography

Photography / fine art print, limited 1/5, signed by the author.

This is an exclusive handprinted unique cyanotype that takes its inspiration from the mid-century modern shapes. It's made by layering paper cutouts and different exposures using uv-...

"Dark Cloudy Shapes" is a blue tones stunning handmade monotype that features an intricate interplay of mid-century modern shapes, all rendered in shades of blue. These shapes are ex...

Print, limited edition of 15. Signed by the author.

Retina #7, an edition of 3, is part of the artist's "At The Center of Seeing" Series. In the image, the golden center blossoms outward in six luminous points, like petals or rays ...

Thomas Struth (German, born 1954) Wall Detail, James Simon Galerie, Berlin, 2019 Medium: Inkjet print back-mounted on Alu-Dibond, set in archival cardboard (as issued) Print dimensio...

ATO>MIC #3, 2020 Unique Gelatin Silver Print/ Luminogram and Photogram technique, Printed on tea infused fibre based paper, Custom Framed: museum mount-board with antireflective UV protective art glass in dark brown lacquered hardwood frame, /hand made in UK/ 23 x 18 cm (image print) 40.5 x 36 cm (Framed) Unique Series: ATO>MIC Signed and dated in pencil on verso Provided with the Certificate of Authenticity “The ATO>MIC work started as an attempt to replicate the idea behind still life painting - where you are trying to reproduce the image of solid looking things, things that could be on a shelf. So, I wanted to try doing that with just using light instead of paints - however I soon started to see the similarities with Harold Edgerton’s famous atomic explosion photos and how the scale of my work could be switched between small items on a shelf to enormous atomic explosions. That is the reason behind the strange title ATO>MIC - where the “>” is a kind of link between larger and smaller scales, between the two influencing ideas.” – Mike G Jackson The images (from the ATO>MIC series) may be reminiscent of the first milliseconds of atomic bomb explosions captured by Harold Edgerton's Rapatronic camera in the early 1950s but also visualise the thought of Maholy-Nagy’s bold visions in the Bauhaus’s movement toward the idea of the Gesamtkunstwerk, or “total work of art.” The 3D concepts that were first expanded in the same art movement by El Lissitzky a hundred years ago, are also explored here by Jackson’s drowned thin line within the third of the image. In his vision, the line reflects a shelf with the object on top, by adding the weight to it, the gravity pushing them down. Or maybe the thin line is just the horizon, where the enormous atomic blast took place…? Beyond these flat forms of two dimensional ‘lumino-graphic’ works on paper, the purest form of photography (‘light drawing’) lays a visible path to three-dimensional imaginary world, realised in precise composition, rhythm and warm earthy tones of these works. It’s up to the viewer to decide what they prefer to see and take with them. As Wassily Kandinsky once said; “Imagination is what allows your mind to discover.” About the Artist: Michael G Jackson...

Pupil #10 blooms outward like a radiant mandala, its six-petaled form evoking both a flower in full opening and the geometric harmony of a stained-glass rose window. This work feels...

Michel Piquette: chromatic cities By Anaïs Castro It is the luminous colours of Michel Piquette’s works that first catch the eye. His chromatic circles that stir up vision take r...

In Red Eye #1, the palette is saturated with crimson and ember-like tones, evoking heat, intensity, and an almost bodily vibration. A central star shape anchors the composition, radi...

In Pupil #5, this composition feels more iconographic and symbolic, almost altar-like. The eye has become less about perception and more about presence—an emblem or vessel holding meaning. At the center-bottom, a pale, egg-shaped form rises above a deep violet structure that resembles both a heart and a pair of unfurling scrolls. This motif carries associations of birth, fertility, and transformation, as if the pupil has turned inward to reveal a seed of becoming. Above it, faint concentric rings form a flower-like pattern, encircled by delicate white marks that suggest both orbiting satellites and the notches of a clock. Time, in this work, feels suspended, it hovers in a state of expectancy, like the pause before emergence. The muted palette—lavender, rose, smoky brown—further emphasizes the contemplative quality. Pupil #5 reads like an inner diagram of potential, a moment of quiet before transformation. In the language of the series, it occupies the space between measurement and blossoming: the seed of sight itself, holding within it both time and vision yet to unfold. This archival pigment print is printed on Epson Enhanced Matte paper. Image size is 28" x 16" with a 1" white border...

Red Eye #3 from At the Center of Seeing carries an especially charged and enigmatic energy. At its core, a glowing orb hovers in a dark void, as if suspended between emergence and e...