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Enter AAP Magazine 54 Nature: Landscape, Wildlife, Flora & Fauna
Enter AAP Magazine 54 Nature: Landscape, Wildlife, Flora & Fauna
Angelika Kollin
Angelika Kollin
Angelika Kollin

Angelika Kollin

Country: Estonia
Birth: 1976

Angelika Kollin is a 44 year old Estonian photographer currently based in Tampa, Florida.
She is self-taught and engages with her passion for photography and art as a tool of exploration of interhuman connections, intimacy, and/or the absence of such. Angelika has spent the last 8 years living in African countries (Ghana, Namibia, South Africa), where she explored the same topic in a variety of different cultures and economic conditions. More and more it strengthens her belief that despite many circumstances in life, the one thing that shapes us the most is our relationship with our parents. Through intense artistic evolution she has arrived at her current and ongoing project You Are My Mother/Father.

Statement:
My main project for the year 2020 became You are my Mother that subsequently expanded into You are my Father. As the covid pandemic rolled over the world, many of us found ourself going back to basics and spending more times with our families. I started photographing my project in April, while we were still in complete lockdown in Cape Town,South Africa. Initially I only wanted to document an act of acceptance and joining I witnessed between a mother and her adult daughter. Afterwards I continued to explore same "story" in other mother/child connections, examining the impact it has on my own family life and on my audience. There is no groundbreaking story occurring in my project, and yet, at least for myself, I am learning to understand the significance and value of connection to our family and how it shapes us for the rest of our life.
 

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More Great Photographers To Discover

Giles Duley
United Kingdom
1971
Giles Duley was born in 1971 in London. After 10 years as an editorial photographer in the fashion and music industries in both the US and Europe, Duley now focuses his work on humanitarian projects. Working with well respected charities such as Medecins sans Frontiers, IOM and UNHCR to highlight lesser known stories deserving of public attention and action. Although documenting challenging, and at times, horrific situations, Duley captures the strength of those who fight their adversity rather than succumb. His photographs draw the viewer to the subject, creating intimacy and empathy for lives differing from ours only in circumstance.In 2011, whilst on patrol with 75th Cavalry Regiment, United States Army in Afghanistan, Duley stepped on an improvised explosive device. He was severely injured, losing both legs and an arm.Source: www.gilesduley.com Artist Statement "In 2011 I was injured whilst working as a photographer in Afghanistan. I spent the next 46 days of my recovery fighting for my life in intensive care. During that period, I was often awake for days, unable to move or communicate as I was incubated and my remaining shattered hand was in a cast. My mind wandered, drifting on a mixture of morphine, exhaustion and fear and so battling to keep my sanity and to pass the dragging hours I’d challenge myself with mental exercises. My favourite was thinking of portraits I wished I could do, creating a list of the 100 people I most wanted to photograph. My first love in photography was portraiture. I love telling someone’s story through an image, trying to capture some essence of character in a frozen moment. For ten years I worked as a portrait photographer before cynicism with celebrity culture and a desire to document humanitarian issues took me in a different direction. I had always hoped to return to portraiture in time. Lying there, trapped in my body, I imagined all the portraits I wanted to take, aware that now I’d probably never get the chance. This wasn’t just a list of heroes or inspirations; more a collection of people who had shaped my cultural identity or whose large personas drew me in. Ben Okri whose writing first opened my eyes to Africa and storytelling; Tom Waits with his gnarled voice; Natalie Portman, hypnotic in the last film I’d seen before my accident; Don McCullin who inspired me to first pick up the camera. The list grew in my mind; eclectic, eccentric characters I wished I’d captured in frame. I resolved that if by some chance I made it through, I’d contact the names on my list and ask them to sit for a portrait. I would not waste my second chance at life. I have no idea where this project will lead, who will say yes, who will say no, or what I will learn about the people I meet and about myself. I’m aware I’ll face practical difficulties brought on by my injuries and the challenges of working within a celebrity culture, but through this journey I hope to develop my abilities in portraiture, to explore my own cultural identity and broaden my understanding of photography. Most importantly to fully regain my life and identity post accident, with more than a little fun along the way! As for the list? From PJ Harvey to Dead Prez, from Samantha Morton to Jean Paul Belmondo, the names on the list are united by a common trait. When I thought I was going to die and when I had to come to terms with my new life, one thing kept me going, my photography. It is my lifeblood. The sitters for my portraits may all be famous, but I believe they have become that because of what they do, not because they craved celebrity. I believe for each one their craft is also their lifeblood. So here I am. It’s taken two years, 30 operations and a long rehabilitation, but I’m ready to start. 100 Portraits Before I Die: A Photographers Odyssey..."
Landry Major
United States
Landry Major is an American artist based in Los Angeles, California. Her work explores the ideas of home, culture and our relationship to the land and animals that we steward. Her work has led her to connect her family's heritage ranching in Canada, with the family-owned ranches in the American West. It is this connection that brings the grace and poetry to her images. Her work has been exhibited in a number of notable exhibitions, including a solo exhibition at The Griffin Museum of Photography in Boston, Massachusetts. Keepers of the West My childhood summers were spent on a family dairy farm in Nova Scotia. Waking at dawn and herding cows alone in the field, where the only sounds were the birds waking and the gentle murmurs of the cows. The smell of fresh milk and fields of grass were the touchstones of my youth. The barn where I helped my uncle hand-milk the cows is now gone back into the earth. My ongoing series Keepers of the West took me back to fields at dawn, this time on the family-run ranches of the American West. Visions of the West have long been central to our culture, but the way of life of the cowboy and the family-run ranch is fast disappearing. Over half of all family owned ranches in Montana are run by people over 65 and many of their children are not choosing to remain in ranching. It is because I recognize these struggles that my series celebrates the beauty of family-run ranches. The lives of these people are framed by hardship, yet they thrive in the simpler way of life that remains their routine, and in the stewardship of the land and the animals they tend. Over the past four years I have witnessed the strength, determination and commitment of these families to continue this way of life, and pass it on to their children. The images are made up of the places, people, and creatures that have welcomed me into their world to remind us of the arresting moments of grace and beauty found in a life lived under the wide-open western skies. Something will have gone out of us as a people if we ever let the remaining wilderness be destroyed ... We simply need that wild country available to us, even if we never do more than drive to its edge and look in. Wallace Stegner, The Sound Of Mountain Water
Frederick Sommer
United States
1905 | † 1999
Frederick Sommer (September 7, 1905 – January 23, 1999), was an artist born in Angri, Italy and raised in Brazil. He earned a M.A. degree in Landscape Architecture (1927) from Cornell University where he met Frances Elizabeth Watson (September 20, 1904 – April 10, 1999) whom he married in 1928; they had no children. The Sommers moved to Tucson, Arizona in 1931 and then Prescott, Arizona in 1935. Sommer became a naturalized citizen of the United States on November 18, 1939. Considered a master photographer, Sommer first experimented with photography in 1931 after being diagnosed with tuberculosis the year prior. Early works on paper (starting in 1931) include watercolors, and evolve to pen-and-ink or brush plus drawings of visually composed musical score. Concurrent to the works on paper, Sommer started to seriously explore the artistic possibilities of photography in 1938 when he acquired an 8×10 Century Universal Camera, eventually encompassing the genres of still life (chicken parts and assemblage), horizonless landscapes, jarred subjects, cut-paper, cliché-verre negatives and nudes. According to art critic Robert C. Morgan, Sommer's "most extravagant, subtle, majestic, and impressive photographs—comparable in many ways to the views of Yosemite Valley’s El Capitan and Half Dome by Ansel Adams—were Sommer’s seemingly infinite desert landscapes, some of which he referred to as 'constellations.'" The last artistic body of work Sommer produced (1989–1999) was collage-based largely on anatomical illustrations. Frederick Sommer had significant artistic relationships with Edward Weston, Max Ernst, Aaron Siskind, Richard Nickel, Minor White, and others. His archive (of negatives and correspondence) was part of founding the Center for Creative Photography in 1975 along with Ansel Adams, Harry Callahan, Wynn Bullock, and Aaron Siskind. He taught briefly at Prescott College during the late 60s and substituted for Harry Callahan at IIT Institute of Design in 1957–1958 and later at the Rhode Island School of Design. In 1934, Frederick Sommer visited Los Angeles. Walking through the art museum one day, he noticed a display of musical scores. He saw them not as music, but as graphics, and found in them an elegance and grace that led him to a careful study of scores and notation. He found that the best music was visually more effective and attractive. He assumed that there was a correlation between music as we hear it and its notation; and he wondered if drawings that used notational motifs and elements could be played. He made his first “drawings in the manner of musical scores” that year. (After reviewing this text, Fred asked that the author refer to his scores “only” in this way. When the author suggested that it was perhaps too long to be repeated throughout the text, he laughed and said, “Well, use it at least once.”) Although people knew of his scores, and occasionally brought musicians to his house to play them, no one ever stayed with it for long. In 1967, both Walton Mendelson and Stephen Aldrich attended Prescott College, Prescott, Arizona, where Sommer was on the faculty. They barely knew of his reputation as a photographer, and nothing of the scores. Towards the end of September he invited them to his house for dinner, but they were to come early, and Mendelson was to bring my flute. “Can you play that?” he asked, as they looked at one of the scores, framed, and sitting atop his piano. With no guidance from him, they tried. Nervous and unsure of what they were getting into, they stopped midway through. Mendelson asked Aldrich where he was in the score: he pointed to where Mendelson had stopped. They knew then, mysterious though the scores were, they could be played. On May 9, 1968, the first public performance of the music of Frederick Sommer was given at Prescott College. Sommer had no musical training. He didn't know one note from another on his piano, nor could he read music. His record collection was surprisingly broad for that time, and his familiarity with it was thorough. What surprised Mendelson and Aldrich when they first met him were his visual skills: he could identify many specific pieces and almost any major composer by looking at the shapes of the notation on a page of printed music. Of Sommer's known works, his drawings, glue-color on paper, photographs, and writings, it is only these scores that have been a part of his creative life throughout the entirety of his artistic career. He was still drawing elegant scores in 1997. And like his skip reading, they are the closest insight to his creative process, thinking and aesthetic. Bruce Silverstein Gallery is the New York representative of the Frederick & Frances Sommer Foundation.Source: Wikipedia Frederick Sommer was an artistic polymath, with deep interests in painting, drawing, photography, sculpture and collage. With his work he intended to engage the world formally, to harvest its chance gifts, decontextualizing and rearranging found images and objects according to often shocking visual affinities. The artist played with a wide variety of forms, textures and scale to create startling compositions amid objects and sites others found too insignificant to notice. Sommer was intent on expanding the limits of where beauty could be found, and after viewing a display of original musical scores, he began to formulate his own theories correlating the graphic design to the sound of musical scores. Alongside many great artists of the period including Edward Weston, Max Ernst, Man Ray and Aaron Siskind, Sommer created a unique and avant-garde body of work formulated from his interest in Surrealism. His works have been exhibited by the world’s most important institutions, including the George Eastman House, Rochester; The J. Paul Getty Museum, Los Angeles; Delaware Art Museum; Serpentine Gallery, London; Charles Egan Gallery, New York; Philadelphia College of Art; Washington Gallery of Modern Art, Washington D.C.; Pasadena Art Museum, California; Museum of Modern Art, New York; Institute of Design, Chicago; Zimmergalerie Franck, Germany; and the Los Angeles County Museum of Art. Work by the artist is represented in major museum collections internationally such as the Metropolitan Museum of Art, New York; Smithsonian Institution, Washington D.C.; Art Institute of Chicago; Museum of Modern Art, New York; Los Angeles County Museum of Art; Museum of Fine Arts, Boston; National Gallery of Art, Washington D.C.; Maison Européenne de la Photographie; George Eastman House, Rochester; and the Victoria and Albert Museum, London. Sommer’s work has been published widely. Noteworthy publications include Frederick Sommer: Photography, Drawing, Collage (2005), The Mistress of the World Has No Name: Where Images Come From (1987), Frederick Sommer at Seventy Five, a Retrospective (1980), and Venus, Jupiter and Mars: The Photographs of Frederick Sommer (1980).Source: Bruce Silverstein Gallery
Erik Hijweege
The Netherlands
1963
Erik Hijweege (1963) is fascinated with the overwhelming power of nature. He started chasing big weather and tornadoes in 2006. During his first years of stormchasing Hijweege chose an alter ego for this body of work in the making. Kevin Erskine a farmer from Valentine Nebraska was born. This resulted for Erskine (a.k.a Hijweege) in his first international solo show in New York and the Supercell book. Sequel to Supercell are his Sublime Nature series focusing on the beauty of nature that is grand and dangerous. Following his 19th century inspired longing for remote places and distant shores he travels the world working on his long-term Uncharted and waterfalls projects. Capturing landscapes on tintype and using old copper lenses, he shows us the world as seen through the eyes of early explorers. The multiple threats of our natural surroundings triggered Hijweege to start a second line in his work focusing on endangered species. Based on the Red List of the IUCN he photographed 23 endangered animals preserved in ice. Being a fragile subject matter Hijweege used the 19th century wetplate collodion process to capture these frozen animals on ambrotype. His Endangered series was exhibited at the Dutch Natural History Museum in Rotterdam raising awareness for this important matter. The Endangered book was published in 2014. In succession of this series Hijweege is currently working on 'New Habitat'. This series is about relocating endangered species to safer grounds. New Habitat is exhibited in the Dutch Natural History Museum during the first three months of 2020.
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