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Nanci Milton
Nanci Milton
Nanci Milton

Nanci Milton

Country: United States
Birth: 1957

Nanci Milton is a primarily self-taught photographic artist. Her experience with the camera, film and image making began at an early age with the gift f an Instamatic from her father for whom photography was his passion though not his profession. Subsequent Christmas gifts of cameras followed, as well as access to his own various cameras. She was smitten.

As the only child of artistic parents, both teachers as well, she was continually exposed to writing, image making, art viewing and inquiring into the creative process. As an only child of older parents, she also was included in many adult events, dinners, lectures, visits with artists of many arenas and backgrounds and absorbed the many layers of inspiration and process they possessed. She found it a gift to be an only child as it allowed her the access to a larger world early on and also left her to her own devices to imagine and make without the comparison or competition with a sibling. Everything was available and potent.

The ''legacy'' of artists can be heavy though, and even as she continued to make images and write, she struggled to find a form that was her own. That form led to a detour into the performing arts, modern dance and theater which were her university studies. Ultimately, these fell short of what she had been immured in all her life, and the turn back o the photographic arts and writing was undeniable. The detour however undeniably informs her work with a sense of narrative and staging, in addition to a conceptual approach that pushes the images beyond the static.

In a world that is in such flux, Milton is attracted to empty, vacated or in some way, disrupted spaces and how our intimately personal or common and archetypal experience layer on and stain that space, be it exterior or interior; she finds a landscape of both body and mind to reveal. There is redemption in that effort and the rescuing of the lost, and in both the symmetry and the chaos found there. Methodology and materials are less important and she utilizes any and all that will support the idea.

Milton has been included in domestic and international exhibits at Praxis gallery, LA Noble Gallery, A Smith Gallery, The 9th Annual Koblenzanalog portfolio and exhibit, and was an Honorable Mention in the Fine Art category for the 17th Julia Margaret Cameron Awards.
 

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Rinko Kawauchi
Rinko Kawauchi is a Japanese photographer. Her work is characterized by a serene, poetic style, depicting the ordinary moments in life. Since she began her photographic career, Kawauchi's photographs contained a unique aesthetic and mood, capturing intimate, poetic, and beautiful moments of the world around her. They often have brilliant and radiant light that gives them a dream-like quality. The sublimity of her photographs is further enhanced by her use of soft colors as well as her awareness of the beauty in even the most average moments. There is not one specific theme or concept that Kawauchi chooses to explore with her image creation; rather, she does it spontaneously, observing and reacting to everything that is around her before doing any sort of editing. She focuses on just shooting, and photographing everything that attracts her eyes before looking back and thinking about why she was interested in those subjects. Another subject that she explored in her book, Ametsuchi, was the practice of religious ceremonies and rituals that hinted at an earthly cycle involving the concepts of time and impermanence. In the book, she depicts Japan's Mount Aso, a sacred site for a Shinto ritual called yakihata, and its volcanic landscape. The ritual is a long-standing tradition dating back about 1,300 years in which farmland is burned yearly to maintain its sustainability for new crops as opposed to using chemicals, and the communities at Aso are among the few that continue this tradition. Ironically, witnessing essentially the rebirth of farmland take place, Kawauchi claims that she burned away her old self and was reborn herself. In her book Halo, she continues to explore that theme with different rituals at other locations. She traveled to Izumo, Japan to witness a ritual that involves the lighting of sacred flames to welcome the gods. She also went to the Hebei province of China to see new year celebrations, including a 500-year-old tradition of throwing molten iron at the city walls to make their own fireworks. Kawauchi became interested in photography while studying graphic design and photography at Seian University of Art and Design where she graduated in 1993. She first worked in commercial photography for an advertising agency for several years before embarking on a career as a fine art photographer. She has mentioned that she continues to work the advertising job. Her background and experience with design have influenced the edits and arrangements of photos in her series. Kawauchi often thinks about new ways to see her photographs, allowing her to continue to find new meaning and significance in her work. There is little known about her personal life and family, but through her photo book Cui Cui she portrays the memories of her family, which she has said to have been shooting for over a decade. The photos in the said book capture all the ordinaries and emotions of life, ranging from the happiness of childbirth to the heartbreak of death. At age 19, she began making prints of her first black-and-white photographs, and it wasn't until five years later that she started printing color photographs. After experimenting with different cameras, she decided to stay with the Rolleiflex, which she still uses. In 2001, three of her photo books were published: Hanako (a Japanese girl's name), Utatane ("catnap"), and Hanabi ("fireworks"). In the following years she won prizes for two of the books in Japan. In 2004 Kawauchi published Aila; in 2010, Murmuration, and in 2011 Illuminance. Kawauchi's art is rooted in Shinto, the ethnic religion of the people of Japan. According to Shinto, all things on earth have a spirit, hence no subject is too small or mundane for Kawauchi's work; she also photographs "small events glimpsed in passing," conveying a sense of the transient. Kawauchi sees her images as parts of series that allow the viewer to juxtapose images in the imagination, thereby making the photograph a work of art and allowing a whole to emerge at the end; she likes working in photo books because they allow the viewer to engage intimately with her images. Her photographs are mostly in 6×6 format. However, upon being invited to the Brighton Photo Biennial in 2010, Kawauchi first photographed digitally and began taking photos that were not square. Kawauchi also composes haiku poems. She lived for many years in Tokyo and in 2018 moved to the countryside on the outskirts of the city.
Michael Knapstein
United States
1956
Michael Knapstein (born 1956, Stevens Point, Wisconsin, USA) is a fine-art photographer who has earned international recognition for his insightful and nuanced visual exploration of the American Midwest. He now lives in Middleton, Wisconsin. Michael's photographs began attracting national attention while still in high school. At the age of 17, his work earned its way into the permanent collection of the George Eastman Museum in Rochester, NY. After graduating from the College of Fine Arts and Communication at the University of Wisconsin, Knapstein began a 30+ year career in the world of advertising. He sold his ad agency in 2010 and returned to his first love of photography. Since this reemergence, Michael's work has been recognized with hundreds of awards in some of the world's most prestigious photography competitions. He is a four-time Critical Mass Finalist, Pollux Award Winner and was named International Landscape Photographer of the Year at the 5th Barcelona Foto Biennale in Barcelona, Spain. He was also named one of "14 Inspiring American Artists" by Skillshare and Feature Shoot. His work has been widely exhibited in museums and galleries around the world. The Unforgotten My photographic series “The Unforgotten” was created to honor and preserve the rapidly disappearing family farm and the rural agricultural tradition that helped build the American Midwest. During my lifetime, we have lost more than 105,000 family farms just in my home state of Wisconsin. While these traditional small farms are falling victim to corporate agriculture and urbanization, their legacy is still honored with events that celebrate the proud agricultural heritage of the Midwest. Often, these gatherings include antique agricultural equipment, sometimes dating back to the days of steam power. I explored this world for several years by attending more than 50 small agricultural fairs and rural festivals across the Midwest. I was drawn to this subject matter because these people and their farm equipment – both once symbols of progress and innovation – now stand as relics of a bygone era. The resulting images speak to themes of rural identity, memory, loss, history, heritage, pride, family, community and sense of place. To express the timeless nature of this material, I approached this project from a “straight photography” perspective in the spirit of Group f/64. My approach was informed by the iconic work of WPA artists and mid-century modernist photographers such as Adams, Weston, White, Strand, Parks and Evans. My work was also influenced by the American Regionalism movement and the work of artists including Wood, Benton, Curry, Wyeth and Hopper. These proud people and their farm machines may eventually fade into the mist of time. But perhaps through my images, their stories may forever remain Unforgotten.
Pol Viladoms
Spain
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As an artist, his work is based on the documentation of the territory in its broadest sense. Showing a special interest in the representation of landscape and architecture as symbols of territorial and cultural identity, his photographs show a delicate attention to the desolate and inhospitable space. Peripheries, forgotten and obsolete places, ruins... all of them testimony and memory of human activity. His work, halfway between the past and the present, tries to reformulate the intentions of the documentary image, trying to balance form and content. Through a personal approach, he shows the relationship between human beings and nature in a world with a disturbing and uncertain future. In 2010 he self-published the book of photographs “Home” exhibited at the Centro de Arte Reina Sofía in Madrid, and which is currently part of its Library. The government of the Canary Islands awarded him the first prize in the Septenio International photographic competition “El suelo” (2012). Between 2014 and 2024 he has been awarded 6 LUX prizes from the AFP (Association of Professional Photographers of Spain). His work on Casa Bloc was exhibited at the Fundació Miró (2016) and he participated in the group exhibition “El Gran Tour” (Finalist at Joan Casablancas Award 2017). In 2018 he received the second prize in the photographic contest “Paisajes cuotidianos” of the Urban Landscape Institute of Catalonia. Among others, he has participated in the art fairs Art Fair Cologne and Affordable Art Fair Amsterdam (2019). In 2020 he was a finalist for the Vila Casas Photography Award. In 2021 he was awarded in the Photography Exhibition of the XV Spanish Biennial of Architecture and Urbanism as well as finalist of the ENAIRE Foundation Award. In 2022 he was finalist of the International Photography Award ECA Espai d’Art Contemporani in Riba-Roja de Túria. He has participated in several collective and individual art exhibitions in Spain as well as in France and the USA (New York and Detroit).
Hendrik Kerstens
Netherlands
1956
Since 1995, Dutch photographer Hendrik Kerstens has been photographing his daughter, Paula. His photographs have been collected by museums around the world and have inspired taste-makers as diverse as Elton John and Alexander McQueen. (McQueen, in fact based his Fall 2009 collection on Kerstens' image of Paula with a plastic bag as a head-dress, using the image as his invitation for the show.) Initially Kerstens' photographs were created out of the artist's desire to capture something of the fleeting moments that fade of childhood. The pictures recorded everyday events – his daughter's sunburn, the child's bath. However, one day there was a moment of revelation when Kerstens not only saw her in relation to the events of her own life, but also projected on her his interest in the Dutch painters of the seventeenth century.
 As Kerstens recalls, "One day Paula came back from horseback riding. She took off her cap and I was struck by the image of her hair held together by a hair-net. It reminded me of the portraits by the Dutch masters and I portrayed her in that fashion. After that I started to do more portraits in which I refer to the paintings of that era. The thing that fascinates me in particular is the way a seventeenth-century painting is seen as a surface which can be read as a description of everyday life as opposed to the paintings of the Italian renaissance, which usually tell a story. Northern European painting relies much more on craftsmanship and the perfect rendition of the subject. The use of light is instrumental in this." A number of the portraits of Paula are clearly reminiscent of Johannes Vermeer. The austerity of the photograph, its clarity, the serene expression on the young girl's face, and not least, the characteristic "Dutch" light, all combine to create this impression.
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 Jonk
France
1985
Jonk discovers photography at the age of 11 when his parents send him for a language exchange to the USA, where each of the ten children forming the group lives with a different host family. The few souvenir pictures shot with the famous disposable orange cameras were his firsts. For the following six years, he travels each winter to a new family in a different state, and in the meantime upgrades his gear with a basic analogue camera. After having swapped it for a pocket numeric device, he realizes his first solo trip, at the age of 19. This trip to Barcelona changes his life, and he comes back with two passions that won't leave him: travels (he has since visited more than 70 countries) and urban art (street art and graffiti), whose discovery gave him his first photographic subject that still occupies him today. Living in Paris, he discovers urban exploration at the end of years 2000 through rooftops, subways and the city's unofficial catacombs. 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Today, he has visited more than one thousand and five hundreds of them in around fifty countries on four continents. With time, his interest focuses on what appears to him to be the strongest in this vast subject of abandonment: Nature taking over. It is poetic, even magic, to see this Nature retaking what used to be hers, reintegrating through broken windows, cracks on the walls, spaces built by Man and then neglected, until sometimes guzzling them up entirely. This topic naturally imposed itself to him due to the ecologic consciousness that moves him since his youngest age and to the strength of the message it carries: the question of the place of Man on Earth and its relationship with Nature. She is stronger, and whatever happens to Man, She will always be there. In March 2018, he releases the book Naturalia on the topic and currently works on volume II for which Yann Arthus-Bertrand wrote the preface. In June 2018, at age 33, he quits his job in the finance to fully dedicate himself to this project. With this series, as a photographer Jonk tries to humbly contribute to make people aware of the critical ecological situation we are all in. Since, four other books were released. His work has been featured in prestigious paper publications (Der Spiegel, Corriere della Sera, Lonely Planet, Le Monde, GQ, Telerama…) as well as on prestigious web platforms (National Geographic, New York Post, Smithsonian, ArchDaily, AD, BBC, The Guardian…). He received various distinctions in recognized international contests with Honorable Mentions (International Photography Awards, ND Awards), nominations (Fine Art Photography Awards), Silver Awards (Tokyo International Foto Awards, Moscow International Foto Awards), places in shortlists (Arte Laguna Prize, Environmental Photographer of the Year, Royal Photography Society, Felix Schoeller Photo Award, Siena International Photo Awards), places of finalist (InCadaquès International Photo Festival, Nature Photographer Of The Year, Umbra Awards) and winner of the Chelsea International Photography Competition and the Earth Photo 2020 Photo Competition. His work has been part of many group shows across the world (Paris, London, Lisbon, Rome, Athens, Budapest, Moscow, Seoul, Tokyo, Singapore, Los Angeles, Palm Springs, New York…) as well as many solo shows in Paris, the main ones being in Paris 20th district City Hall “Salon of Honor”, at the OECD, the Forum des Halles and the Nicolas Hulot Foundation for Nature and Man. In October 2020, Jonk realizes his first solo shows abroad. The first one is the central show of Home Expo in Luxembourg, the most important Fair of the country. Consisting of 91 photos, this exhibition is also his biggest show to date. He simultaneously conducts five solos show in China for the Franco-Chinese Environmental Month. They take place at the Park View Gallery of the magnificent Design Society in Shenzhen, the French Institute of Beijing, the Kingold Century Center of Guangzhou, the Westred Art Museum of Harbin and the Parc Hongmei of Shenyang. Jonk had set a first foot in China the year before by giving a conference on his Naturalia series in Shenzhen. It was his second after a TEDx given in Paris in 2018. Several exhibitions of Naturalia are planned for 2021 and 2022. Naturalia: Chronicle of Contemporary Ruins As a child, I saw a wildlife documentary that marked my life. It focused on the melting of the ice caps and its consequences on polar bears' life. I still remember this bear that struggled to swim and find a piece of ice floe. It seems that "children are like wet cement. Whatever falls on them makes an impression." (Dr Haim Ginott). This vision marked me so much that during all my childhood, every time any of my parents did anything that seemed bad for the environment, it told them this sentence: «Watch out, you kill the bears!!" This ecological consciousness, that moves me since my youngest age, has little by little focused my interest on abandoned places reclaimed by Nature. She is stronger, and whatever happens to Man, She will always be there. Moreover, Naturalia: Chronicle of Contemporary Ruins asks a fundamental question: that of the place of Man on Earth and his relationship with Nature. Far from being pessimistic, and at a time when Man's domination of Nature has never been so extreme, it aims to wake our consciousness. Man builds, Man abandons. Every time for his own peculiar reasons. Nature does not care about those reasons. But one thing is for sure, when Man leaves, She comes back and She takes back everything. In his poem Eternity of Nature, brevity of Man, Alphonse de Lamartine writes "Triumph, immortal Nature! / Whose hand full of days / Lends unlimited strengths / Times that always rise again!" In her inexorable progression, She starts reclaiming the outsides of a Taiwanese reservoir (Picture 1) before infiltrating the insides of a Croatian castle (2) or a Belgian greenhouse (7). Then, She grows in the atrium of a Polish palace (8) or a Cuban theater (9) before invading a Montenegrin castle (10). Then, given more time, imprisons a Taiwanese mansion with her strong roots (20). The next steps? Collapse and burial. French poet Léo Ferré said "With Time goes, everything goes". So, when Nature and Time will have taken back what Man abandons, what will be left of our civilization?
Nanda Hagenaars
Netherlands
''El Duende'' is a word used by the Spanish people to describe it is what moves you, what drives you. It comes from inside you. El duende is a bodily reaction to art or artistic perfomance such as Flamenco. It comes from the soles of the feet and flows free throughout the body till the top of your head. El duende is the spirit of evocation. An emotional and physical reaction. It can make you smile or cry or both. This mysterious power which everyone can sense and no philosopher can explain is in sum the spirith of the earth. It touches you in such a magical way that you are moved instantly. Nanda Hagenaars was born in the Netherlands in 1988 and is currently living in Amsterdam. She studied International Business and Languages in Sevilla. This is where she felt the spirit of el Duende in such a strong way that this place instantly became like a harbour for her. Back in the Netherlands, Nanda started working in the advertising industry and after nearly 4 years left her office job and crashed fully into photography and art. After studying languages, she discovered a new kind of language; through photography. Between 2007 and 2017, Nanda traveled frequently back to south Spain where she somehow always felt touched by culture and the simple vibe of the magnificent gypsy city. In 2016, Nanda made her first documentary photography project in Sevilla, where she won a price for New Dutch Photo talent 2017. Nanda’s captivating black and white style blends poetry and intuition, delving into the eternal essence of life. Through her lens, Nanda captures stories and forges a profound connection with the portrayed. At times, she surrenders to the unknown, creating intuïtively and spontaneously. Through her art she aims to touch others, offering solace and unity through shared emotions. So.. to Nanda, photography is a way to translate, meditate, and communicate. A universal language. AAP Magazine Magazine #31 Portrait Article Exclusive Interview
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