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Gavin Libotte
Gavin Libotte
Gavin Libotte

Gavin Libotte

Country: United Kingdom/Australia
Birth: 1969

Gavin Rene Libotte is an Australian photographer born in Kent Sussex England in 1969 and is currently based in Sydney. He studied Graphic Design, Fine Art, and Jazz Guitar in Perth Western Australia. He started photography as a teenager using film while studying graphic design. After a long break he started using iPhones to make images and then went on to use Fuji and Ricoh cameras on the streets. He became a full-time musician and educator and has recently started working as a commercial photographer part-time and spending the rest of his time working on his fine art street photography. Gavin is influenced by painters such as Gorgio De Chirico, Jeffery Smart, and Caravaggio. His photographic influences include Ray K Metzker and Alex Webb. He discovered that the practice of photography is in alignment with his meditation routine and can be used to help focus the mind and live in the present moment. Gavin is currently working on some street photography projects and is showing his work in several International Group exhibitions.

Artist Statement
I like to explore the human condition and our relationship with the world around us. The world is multidimensional and we exist not just in a physical space. My images explore our relationship with the physical and spiritual layers of the world. The fragile human condition is at play within many layers of existence. Something we don't understand but we a committed to moving through the unseen challenges that lay ahead. I am attracted to strong compositions, hard light, faces/figures and have recently started exploring flash, ICM ( intentional camera movement ) and reflections. I like to work in black and white and colour.
 

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Willy Ronis
France
1910 | † 2009
Willy Ronis was a French photographer best known for his photographs of life in postwar Paris and Provence, who spent his career roaming the Parisian streets capturing people in love, at work, and at play in lyrical black-and-white images, claimed an interest in "ordinary people with ordinary lives." He was a central figure in the "humanist photography" movement, alongside colleagues Robert Doisneau, Henri Cartier-Bresson, and George Brassaï, celebrating the poetry in the everyday in warm, witty images. I have never sought out the extraordinary or the scoop. I looked for what complemented my life. The beauty of the ordinary was always the source of my greatest emotions. -- Willy Ronis Working in his parents' photography studio, Willy Ronis honed his sense of proportion and composition. Ronis was born in Paris; his father was a Jewish refugee from Odessa, and his mother was a Lithuanian refugee who had fled the pogroms. His father established a photography studio in Montmartre, and his mother taught piano. The boy's first love was music, and he aspired to be a composer. When Ronis returned from military service in 1932, his violin studies were put on hold because his father's cancer forced him to take over the family portrait business; His love of music can be seen in his photographs. When his father died in 1936, the business collapsed, and Ronis went freelance, with his first photographs appearing in Regards. Willy Ronis met David Szymin and Robert Capa in 1937 and did his first work for Plaisir de France; in 1938-39, he reported on a Citroen strike and traveled in the Balkans. Ronis, like Cartier-Bresson, was a member of the Association des Écrivains et Artistes Révolutionnaires and remained a leftist. Ronis was inspired to start exploring photography by the work of photographers Alfred Stieglitz and Ansel Adams. After his father died in 1936, he closed the studio and joined the photo agency Rapho, where he worked alongside Brassaï, Robert Doisneau, and Ergy Landau. Most of my photographs were taken on the spur of the moment, very quickly, just as they occurred. All attention focuses on the specific instant, almost too good to be true, which can only vanish in the following one. -- Willy Ronis Willy Ronis was the first French photographer to work for Life magazine. In 1953, Edward Steichen curated a show at the Museum of Modern Art called Five French Photographers, which featured Ronis, Henri Cartier-Bresson, Robert Doisneau, Izis, and Brassaï. He was also featured in the Family of Man exhibition in 1955, and received in 1957 the Gold Medal from the Venice Biennale. Ronis began teaching at the School of Fine Arts in Avignon, Aix-en-Provence, and Saint Charles, Marseilles in the 1950s. The Minister of Culture awarded him the Grand Prix des Arts et Lettres for Photography in 1979. In 1981, Ronis won the Prix Nadar for his photobook Sur le fil du hasard. Marie-Anne Lansiaux (1910-91), a Communist militant painter, was the subject of Ronis' well-known 1949 photograph, Nu provençal (Provençal naked). The photograph, which was taken in a house that Marie-Anne and he had just purchased in Gordes, showed Marie-Anne washing at a basin with a water pitcher on the floor and an open window through which the viewer can see a garden; it is notable for its ability to convey an easy feeling of Provençal life. "The destiny of this image, published constantly around the world, still astonishes me," Ronis said of the photograph. Ronis spent the 1960s and 1980s in Provence and photographed Marie-Anne, who was suffering from Alzheimer's disease at the time, sitting alone in a park surrounded by autumn trees.
Pedro Luis Saiz Ajuriaguerra
Pedro Luis Saiz Ajuriaguerra (Bilbao, Bizkaia, Spain, 1974). self-taught photographer, began his career back in 2011 discovering a passion that was unknown, the beginning do little more than encourage their concerns are increasing making try almost all disciplines of photography, highlighting mainly in sports photography, and architectural photography. It has the distinctions MCEF / o (Gold Master of the Spanish Confederation of Photography) and EFIAP / g (Gold Excellence of the International Federation of Photographic Art). He is currently collaborating with magazines such as BAO Bilbao Magazine, Bilbao Tourism, Bilbao Bizkaia Tour Magazine and for different sports promoters such as MGZ Promotions, Euskobox etc. Judge in more than 20 international competitions. He has participated in numerous International competition and has managed numerous medals of FIAP, PSA, GPU, IUP, DPA, UPI, CVB, ISF, PCA (50 FIAP Gold Medals and around 70 PSA Gold Medals), just over 400 awards and more than 5000 acceptances by various international photographic salons in the last years. The predator of instants He is shy, thin, with white skin and very large, green, expressive eyes. They are eyes that capture everything; Suddenly, they focus on a sheet of time and begin to create a painting. The camera is just the harpoon that he catches that moment. Before, Pedro Luís has studied the hunting area. And then he will catch the moment before showing the trophy. He is a predator. "I'm not obsessed with light, or color, or movement. I am very attracted to various disciplines such as sports, architecture and extreme macro. I am looking for a place, event or object and I begin my research on what can be photographed, which can last for weeks. Then I let myself go, "he explains. "It is essential to tell stories with photos. A good photograph must relate something. A photo is a story, a short story. Of course, it is not always possible. But the most impressive photos always have a story inside ". He insists that passion is the descriptive element of his photographic style. "It is my strong point, it forces me to go further." That passion is transmitted to the photo "with a lot of contrast, sharpness and blacks pushed to the limit; with marked shadows, the light is there. It is a style close to the comic ". The photo does not exist although the moment already feels that it carries the harpoon on its back. "It is necessary to complement two processes: a good photograph and a good edition. He did a lot of editing work ", "A photo, once you have taken it, you have worked on it, you have it finished, it loses part of its value for me. It is tremendous. It may be something subconscious, but once the process is complete, it loses its charm. And I do not stop finding defects. It also happens to me that the more I see a photo, it becomes devalued, it comes off the ability to surprise me. It is the essence of the predator. He needs new blood. A recent trail. The stimulus to capture prey that he has not yet seen.
Wendi Schneider
United States
1955
Wendi Schneider is visual artist illuminating impressions of grace and vanishing beauty in our vulnerable environment with photography and precious metals. Her work is influenced by the lush landscapes of Memphis and New Orleans and a background in painting and art history - in particular Whistler and Steichen, and other Pictorialists and Tonalists. She turned to photography in the early 1980s to create references for her paintings. Mesmerized by the alchemy of the darkroom, yet missing the sensuousness of oils, she layered glazes on her prints to create a heightened reality. She moved to New York in 1988, where she also photographed for advertising, book covers and Victoria Magazine, and to Denver in 1994, later sidelining her fine art practice while raising her son and working in commissioned photography, art direction, and design. Inspired to return to fine art photography in 2010, she soon began her ongoing series 'States of Grace' - engaging digital to capture, layer and print her images, then applying gold or silver on verso to infuse the artist's hand and suffuse her subjects with the spirituality and sanctity of the precious metals - insuring each print is a unique object of reverence. Her photographs have been shown in numerous solo and group exhibits internationally and are held in permanent collections at the New Orleans Museum of Art, the Memphis Brooks Museum, the Center for Creative Photography, Auburn University Library, and the Try-Me Collection. Statement My work is rooted in the serenity I find in the sinuous elegance of organic forms. It's a celebration of the senses anchored in the visual. I'm transfixed and transformed in the art of capturing the stillness of the suspended movement of light and compelled to preserve the visual poetry of these fleeting moments of vanishing beauty in our vulnerable environment. I photograph intuitively - what I feel, as much as what I see. Informed by a background in painting, art history and design, I layered oils on silver gelatin prints in the '80s and '90s to find balance between the real and the imagined. My images are now layered digitally with color and texture, often altered within the edition, honoring the inconsistency. Printed on translucent vellum or kozo, these ethereal impressions are illuminated with white gold, moon gold, 24k gold or silver on verso, creating a luminosity that varies as the viewer's position and ambient light transition. My process infuses the artist's hand and suffuses the treasured subjects with the implied spirituality and sanctity of the precious metals - insuring each print is a unique object of reverence. 'States of Grace' has evolved organically into series within series that can be curated by subject, theme, treatment or feeling. Galleries A Gallery for Fine Photography Anika Dawkins Gallery Catherine Couturier Gallery Galeria PhotoGraphic Rick Wester Fine Art Vision Gallery
Kevin Kinner
United States
1953
I realized that the term ''emerging photographer'' applies to where I am at this stage. As a young man perhaps better to say teenager, I had the opportunity to work at Hiro Studios here in New York City as a summer intern. It was there that I learned my way around the dark room and was able to experience the glamor and excitement of a shoot. However, during l my free time I took to the streets with my Pentax. Walking through Central Park photographing people, their surroundings, anything that caught my eye. Little did I know at the time that what I was practicing was street photography. Later on my professional career was advertising production. Particularly print production. Although not photography, I worked in tandem with photographers and retouchers to create the best final images that were to appear on the page. When digital phased out print, I decided to get back to my true passion....photography. Here I am again on the streets of New York City. Enjoying the independence, the discovery and the people. Hopefully continuing to “emerge” as a photographer. Recently, I have shown at the Treviso Photography Festival, as well as the ArtBoxy exhibit in Soho. I received a Single Image Award in Black & White magazine’s special 2022 issue. I was an integral part and exhibitor with Art on the Ave NYC. An initiative conceived to display art and photography in the vast amount of vacant store fronts. Street facing windows on The Upper West Side of Manhattan, Greenwich Village and Downtown Manhattan were transformed into galleries that rejuvenated their respective neighborhoods.
Wang Qingsong
China
1966
Born in Daqing, Heilongjiang Province, China 1966 1993: Oil Painting Department of Sichuan Academy of Fine Arts, Sichuan, China Lives and works in Beijing since 1993 Awards: 2006 Outreach Award from Rencontres de la Photographie, Arles, France Wang Qingsong graduated from the Oil Painting Department of the Sichuan Academy of Fine Arts and currently lives and works in Beijing. After starting his career as an oil painter engaged in the Gaudi movement, he began taking highly staged photographs that explore the influence of Western consumer culture in China. In more recent works he has explored political and social themes including the struggles of the migrant population and Chinese diplomacy. His photographs are known for their massive scale, deep symbolism and careful staging, which can sometimes take several weeks and involve up to 300 extras. Although photography is his main medium, he has explored performance and video art in more recent years. Qingsong’s work has been presented at prestigious galleries, museums and art fairs across the globe including the 55th Venice Biennale China Pavillion (Venice), the International Centre of Photography (NY), the Hammer Museum (Los Angeles), the Victoria and Albert Museum (London), the 42nd Rencontres de la Photographie (Arles), the Daegu Art Museum (Seoul), MOCA (Taipei), the Rockbund Art Museum (Shanghai) and the Mori Art Museum (Tokyo). Wang Qingsong is a contemporary Chinese artist whose large-format photographs address the rapidly changing society of China. His photographs, appearing at first humorous and ironic, have a much deeper message. Critical of the proliferation of Western consumerism in China, his, Competition (2004), depicts the artist standing with a megaphone in front of a city hall covered in advertisements for brands such as Citibank, Starbucks, and Art Basel. "I think it is very meaningless if an artist only creates art for art's sake," he said. "I think it would be absurd for an artist to ignore what's going on in society." Born in 1966 in Heilongjiang Province, China, Wang studied at the Sichuan Academy of Fine Arts. Although he was trained as a painter, Wang began taking photographs in the 1990s as a way to better document the tension of cultural shifts. The artist's works have been in exhibitions at the Hammer Museum in Los Angeles and the National Gallery of Victoria in Melbourne. Wang currently lives and works in Beijing, China. Source: Artnet
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