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Jennifer Baron
Jennifer Baron
Jennifer Baron

Jennifer Baron

Country: The Netherlands
Birth: 1971

Jennifer Baron is a Dutch photographer based in Amsterdam. After many years in the field of education, she has decided to pursue her passion for photography. Her journey into the world of visual storytelling has culminated in the recent publication of her self published debut book, ‘Frozen August.’ ‘I translate my feelings in my work using universal themes that deal with grief, trauma, loss and healing. There is always an autobiographical element present. Making visible experiences, pain and traces left behind. In my work, abstraction alternates with intimacy and emotion.’

Statement
Jennifer’s photographic work is a visual dance that encourages the viewer to explore the subtle balance between the intangible and the tangible, the distant and the immediate. It’s in the contrasting elements of her art that a strong feeling emerges, motivating people to explore their own feelings and experiences.

She believes that black and white photography has a unique ability to capture the raw essence of human emotions and experiences. It gives the viewers the opportunity to fill in the colors of their own emotions and interpretations. Her work is deeply rooted in her personal experiences and emotions.

‘I translate my feelings in my work using universal themes that deal with grief, trauma, loss and healing. There is always an autobiographical element present. Making visible the experiences, the pain and the traces left behind. In my work, abstraction alternates with intimacy and emotion.’

Frozen August
When you have experienced a loss, you can go a long time without dealing with it. You get carried away by everyday life. Suddenly that grief is there again. Why you can still grieve intensely even years after the death of a loved one.

‘My work gives an insight into my grieving process over the sudden death of my brother in August 1990. After 33 years of keeping silent about this, this wound is still so palpable. My world in darkness invites you to follow the trail of emotions. Body and nature become landscapes of mourning. Light and dark are about hope and despair. By combining various media; photography, sketches and publication book, my project Frozen August came about.’
 

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More Great Photographers To Discover

Golnaz Abdoli
Iran/United States
1956
I was born in Iran and lived the first 18 years of my life there. The vivid memories of my homeland are its cold winters with snowcapped mountains, cars swerving on slippery roads, a small frozen pool, and me hoping that school would be cancelled; my mom preparing pomegranate for my siblings and I, and at the same time warming my hands with her warm breath. During the next forty years I enjoyed getting my degrees in Biology and Education in California, USA, raising my two children , and working in the field of education. I taught elementary school for 21 years. I picked up photography after I retired from teaching. I loved it immediately because it gave me a new voice to express myself and be creative. I found that photography and its many genres is a unique language with many dialects, and it can bring people from all over the world together. But now my love of photography has developed into a passion during the Covid-19 Pandemic. I appreciate it for helping me delve deep into my soul and understand myself better. During the lockdown photography has become my best friend and companion. Statement I approach photography of modern architecture as a visual puzzle that needs to be unravelled. My images are theatrical and mysterious. When I hold the camera, it awakens a sense of curiosity in me. I look up, ponder at the lines of steel coming together, light and shadow intertwining to form reflections, and I question how far into the space the lines travel, and the patterns repeat themselves. Reflections of outside buildings form mysterious forms and rhythms on the structural facade of modern architecture, inviting it to form a community with its surrounding. I appreciate the modern architecture for its beauty.
Michael Kenna
United Kingdom
1953
Michael Kenna was born in Widnes, England in 1953. As one of 6 children born to a working class Irish-Catholic family, he initially aspired to enter the priesthood but his passion for the arts led him to The Banbury School of Art where he studied painting and then photography. Later he attended The London College of Printing and began working as a photographer and artist. He moved to San Francisco in 1977 where he was astounded by the number of galleries the city housed which allowed artists to showcase and sell their work. San Francisco has remained his home ever since. Michael Kenna's work has often been described as enigmatic, graceful and hauntingly beautiful much like the Japanese landscape. Kenna first visited Japan in 1987 for a one-person exhibition and was utterly seduced by the country's terrain. Over the years he has traveled throughout almost the entire country constantly taking photographs. From these many treks the book Japan, featuring 95 of these photographs, was conceived. The simplicity and clarity of Kenna's Japan alludes to rather than describes his subject allowing the viewer to have a completely unique and tailored interpretation. He has described this body of work as, "more like a haiku rather than a prose"; his work being like photographs written in short poem form. Kenna's photographs are often made at dawn or in the dark hours of night with exposures up to 10 hours. Kenna has said "you can't always see what's otherwise noticeable during the day... with long exposures you can photograph what the human eye is incapable of seeing". Michael Kenna's prints have been shown in numerous exhibitions throughout the world with permanent collections in the Bibliotheque, Paris; The Museum of Decorative Arts, Prague; The National Gallery of Art, Washington DC; and the Victoria and Albert Museum, London. Kenna has also done a great deal of commercial work for such clients as Volvo, Rolls Royce, Audi, Sprint, Dom Perignon and The Spanish Tourist Board. Japan is one of 18 books of Kenna's photography to have been published to date. Source: Supervision With more than fifty monographs documenting his travels, Michael Kenna shows no signs of slowing down in his endless pursuit of nature's haunting beauty. Whether working in his native England, Easter Island, the coastal towns of France or the islands in Japan, Kenna seeks places of solitude which speak volumes about humanity. Barren seascapes, abandoned fishing nets, fragmented piers, mysterious horizons, trees emerging from under snow drifts – these are just some of the images which dominate Michael Kenna's work from Japan. The result of his efforts can be seen in two books, Hokkaido (2006) and Japan (2002), both published by Nazraeli Press. His newest book, Mont St Michel, continues his passion for solace. Originally built as a community for Benedictine monks, Mont St Michel became a place of prayer, meditation and silence. Kenna made may journeys to Mont St Michel, staying for days at a time, living among the residents, following their codes of silence and prayer. Armed with a camera, Kenna walked the halls, crypts and towers, watching shadows sneak their way around columns and spires, recording the passing of time. Mont St Michel is dedicated to Michael's father who recently passed away. As Kenna states in his introduction: "My dad was a quiet man, he didn't seem to have a need to talk very much...We walked pretty much everywhere, and I liked to walk with my Dad...I think the time in-between destinations was most special for me. We didn't need to say very much to each other. Walking, observing, listening, waiting. Somehow I associate those walks with my time at Mont St Michel...He taught me that it's alright to walk alone sometimes." Whether photographing in Mont St Michel, Japan, China, or the United States, Michael Kenna invites the viewer to walk along with him as he captures moments between events, when human presence seems right around the corner and silence is always present... Source: Catherine Edelman Gallery
Graham Hobart
United States
1960
Graham Hobart grew up in a British colony in Africa. After living for a while in England, Hobart moved to the US and supported his family as a commercial photographer before deciding that he wanted to move from shooting to please a client to doing something that fulfilled his artistic passions. Hobart began exploring many different forms of expression from video to sculpting in bronze but settled on wildlife and nature photography. He chose infrared photography in particular because it allowed him to break away from the mundane and create a look that was uniquely his. Currently he is known for two very distinct styles that you may be able to differentiate when studying his images. One style, "In Search of White” allows as much of the paper to show through with a minimalistic approach akin to a pencil or ink sketch. The other style, darker and more ominous, is called “Out of Obscurity”. Before seeking commercial gallery representation Hobart established a firm foundation for his new career by having his work exhibited in major institutions like National Geographic, the Smithsonian National Museum of Natural History, the Booth Western Art Museum and other institutions. Now Hobart is represented in several galleries here in the US as well as abroad. Artist’s Statement : Regaining what has been lost. Some activist photographers use shock and guilt as tools to bring attention to the plight of the natural world. Equally dismaying are photos depicting pristine images of Nature at its most beautiful, which can leave the viewer with the mistaken notion that all is well. Harnessing the unique qualities of infrared photography, Hobart creates images reminiscent of old Victorian lithographs by explorers like Thomas Baines from the late nineteenth century. Hobart’s images evoke a haunting nostalgia for a bygone era by transporting us to a time to when animals roamed freely. His work challenges us to give the overly stressed wild areas the space to heal as we learn to reestablish our coexistence with the natural world. Hobart believes we never fully experience life without first getting close to nature. He implores us to tread lightly where we walk and listen carefully to all the plants and creatures around us. “Each of us must acknowledge that we must share this beautiful world with all its inhabitants or lose it.” — Graham Hobart AAP Magazine AAP Magazine 54 Nature
Michael Anker
I entered the professional side of photography during my studies in graphic design. It was then that I discovered the rich tonality and depth of tones that can be found in analog black-and-white photos. My photography teacher at the time, Manfred Paul, provided the necessary inspiration. Nowadays, I execute the majority of my projects using analog methods once again. This approach allows me to alleviate the time pressure from the creative process. "The Dark River" from the cycle "Remember me?" For several years, I have been working on my photographic series "Remember Me," which explores traces of my cultural identity. At the same time, it serves as a long-term study of the relationship between people and landscapes. My focus is on two topographies that lie beyond media attention: the Oderbruch region on the northeastern border of Germany and Poland, and the former German-speaking enclave of Hirschenhof in present-day Latvia. Both areas, which have undergone significant changes, are also imbued with traces of the last great war. My family stories are rooted in these places. The first part of the series, "The Dark River," presented here, tells the story of my father's family's deep connection with nature. The subsequent second part, "The Dark Silence," will explore the migration and flight of my maternal family. Without explicitly stating it, the work invites reflection on the fact that economically or politically motivated migration has always existed. The anchor point of "The Dark River" is the Oder River, which today forms the border between Germany and Poland. Along the Oder, my father's family witnessed the two-and-a-half-century-long transformation of the once primeval river and swamp landscape into an agrarian cultural area, initiated by the Prussian King Frederick II. This region also saw one of the fiercest battles of World War II in 1945. It was here, after the war, that my father met my mother's family, who had reached the Oderbruch on a trek from the Wartheland/Poland. They later met while dancing at the "Schwarzer Adler" in Seelow. In "The Dark River," long-buried memories and dreams resurface. Calm and dark, the Oder flows, filled with memories of itself and the people along its banks. The sky reflects in it, even at night. Dark shallows remain hidden. Sluggish like the stream, life moves through the plains, carrying my own family history with it. Where the landscape is left undisturbed, it recalls its own fertility and the myths that once surrounded it. Scars in its terrain remind it of its vulnerability, keeping the pain alive, and these scars grow deceptively. The images are captured on 120 film, which I believe is the only suitable format for processing history and stories in an epic way.
Elisabeth Hase
Germany
1905 | † 1991
Elisabeth Hase (December 16, 1905 – October 9, 1991) was a German commercial and documentary photographer active in Frankfurt from 1932 until her death in 1991, at the age of 85 Hase was born in Döhlen bei Leipzig, Germany. She studied typography and commercial art from 1924 to 1929 at the School of Applied Arts, and later at the Städelschule, under, among other teachers, Paul Renner and Willi Baumeister. Hase was active as a photographer during the time of the transition from the Weimar Republic to the Third Reich and through post-WWII Germany. She was able to avoid government oversight of her work by establishing her own photographic studio in 1933. Hase's work included surreal photography, such as close-up photographs of dolls. She received several awards, several for paper designs and collages. During a two-year collaboration in the studio of Paul Wolff [de] and Alfred Tritschler [de], Hase took architectural photographs in New Objectivity style for the magazine Das Neue Frankfurt (The New Frankfurt) and documentary photographs of modern housing projects, including those of Ferdinand Kramer. In 1932, Hase started her own business. It focused on timeless designs like still life, structures, plants, dolls, people, especially self-portraits. Often she used herself as a model in her photographic “picture stories.” Cooperation with agencies like Holland Press Service and the Agency Schostal[2] enabled her to publish her photographs internationally. Despite the bombing of Frankfurt in 1944 by the Allies, Hare's photographic archive survived the war without major damage. Many of those works are now part of the collections held by the Folkwang Museum in Essen, Germany, in the Albertina (Vienna) in Vienna, and in the Walter Gropius estate in the Bauhaus Archive in Berlin, as well as in private collections in Germany and abroad. Despite loss of her cameras and other technical equipment in the chaos of war, Hase was able to resume taking photographs in 1946 by the help of emigre friends who provided her with film and cameras to use. Among others subjects Hase documented was the reconstruction of St. Paul's Church in Frankfurt. From 1949, her work focused on advertising, consisting mostly of plant portraits. Hase died at the age of 85 in 1991 in Frankfurt am Main. Source: Wikipedia This new discovery is a rich body of work by a female artist who was photographing during the time of the transition from the Weimar Republic to the Third Reich and through post-WWII Germany. Hase's photographic compositions are comparable to a number of her avant-garde contemporaries such as Florence Henri, Ilse Bing, and Germain Krull. Elisabeth Hase (1905-1991) was born in Germany and began her artistic studies in 1924 at the Art Academy in Frankfurt. During World War II Hase was able to avoid the politicization of her work by retreating to her studio. This however would not prevent her work from being wholly untouched by the war. During the air raid on Frankurt in 1944 her cameras and other equipment were lost however, quite remarkably, her archives of glass and film negatives survived. Most intriguing are Hase's self-portraits which experiment with identity and perceived reality. In one self-portrait she has photographed herself in the reflection of a silver sphere, she and the room are warped on the convex surface of the globe. In another image she is sprawled over a staircase as if fallen, with shoes and purse strewn likewise over the stairs. This practice of role-playing and adopting different personas is seen throughout Hase's portraiture. Hase's work has been shown in museums across Germany including; the Folkwang Museum, Essen; the Historical Museum, Frankfurt; and the Museum of Photography, Braunschweig. Hase's work was exhibited in the show "Who is Afraid of Women Photographers?" at the Musée d'Orsay, Paris, France. Her work in found in prominent museum collections internationally, including The Metropolitan Museum of Art, The National Gallery, the Museum of Modern Art, The Nelson-Atkins Museum of Art, Ackland Art Museum, the Chrysler Museum of Art, Folkwang Museum in Essen, The Albertina Museum in Vienna and The Bauhaus Museum of Design in Berlin. Source: Robert Mann Gallery
Jennifer Thoreson (Hudson)
Jennifer B Thoreson (Hudson) is a fresh, young visual fine art photographer creating staged imagery that is both artistically stylized and meticulously crafted. Drawing inspirations from themes of faith, restitution and re-purpose, and the intricacy of personal relationships, Jennifer is a dynamic and emotional illustrator of the human heart. With an innate ability to plumb the antique, the work is soulful; seeking the use of the forgotten or discarded, eerie and quiet. Raised in a spiritual and conservative home in rural Texas, Jennifer grew up imaginative, curious, and experimental, and has used her upbringing in her intensely personal artwork to bring insight and awareness using heartfelt, acutely mapped personal experiences. Jennifer is currently working in Albuquerque. New Mexico. she is an MFA Degree Candidate at the University of New Mexico, and is studying within the studio art in Photography program. Alongside varied private portrait commissions, she is an international speaker and lecturer whose programs are sought after year after year by many professional public and private photographic organizations. She has just completed her latest major body of work entitled ‘Medic’, a collection of ten images exploring the breadth of human relationships during illness and recovery. Jennifer’s work has been a part of many group and solo exhibitions, and is represented by three major galleries across the country. Exclusive Interview with Jennifer B Thoreson (Hudson): All About Photo: Where did you study photography? Jennifer Thoreson:The University of New Mexico How long have you been a photographer?About 12 years. What or who inspires you?Thomas Demand, Ann Hamilton, Rachel Whiteread, Francesca Woodman, Deborah Turbeville, Sarah Moon, Gertrude Kassebier, Julia Margaret Cameron Do you have a favorite photograph or series?Deborah Turbeville's Past Imperfect What kind of gear do you use? Camera, lens, digital, film?I have a Nikon D3, and use the 24-70mm 2.8 for just about everything. What advice would you give a young photographer?First, commitment and conviction are paramount. If you combine conviction and energy, you've really got something. Second, be humble, engaged, passionate, and well spoken. An idea, a sentence, a project you would like to share?I'm working on a project now about re-birth and reconciliation. I'm creating large scale installations in each room of a house, and photographing them with human subjects. The house itself, and all of the furnishings are unwanted or discarded items I have collected. I'm repairing them, beautifying, and repurposing them for the photographs; sort of a baptism for each object. The finished work will be photographs; small records, or documents of the transformation. The compliment that touched you most?Someone once told me that one of my photographs helped her to cope and heal from a life crisis. It meant the world to me. If you were someone else who would it be?Imogen Heap.Your favorite photo book?'Francesca Woodman' See the Book
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