Postcards from Paradise

EXHIBITION BY SINZIANA VELICESCU
16 – 31 August 2017

2015

Postcards from Paradise explores traces of the American Dream along a highway in central California where gold mines were once prevalent in the 1800s. Once a major destination for idealists and dreamers, Owens Valley lies forgotten and empty. Now partially desolate towns were once given optimistic names such as Independence and Paradise, promising fortune for those who risked everything to pursue bigger dreams made tangible by the California gold rush. The reality, however, is that few settlers achieved any success from their endeavors, leaving empty handed with as much haste as they came in with.

Today, little evidence is left of the Gold Rush Era, yet hints of a steady economic downfall permeates throughout the valley. My photographs attempt to bring out the various manifestations of this region, in a direct representation of old and new. Most importantly, the series calls attention to the carelessness with which Americans settled and subsequently gave up on the West, leaving behind a footprint on the landscape and ultimately exposing the myth of the American Dream.

 

SINZIANA VELICESCU

Sinziana Velicescu is a photographer and filmmaker based in Los Angeles, California. She is a graduate of the University of Southern California with a B.A. in Comparative Literature and Film. Her photography explores human intervention with nature in landscapes that have undergone political, social, or environmental change. Selections from her award winning series, On The Periphery, have been shown in galleries internationally in Los Angeles, Chicago, New York, Hamburg, Melbourne, Tokyo, and Rome. Most recently, Photo Boite named her one of the 30 Female photographers under 30 to watch in 2016.

SINZIANAVELICESCU.COM

 

 

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In the Flat Field

EXHIBITION BY REINIER TREUR
8 – 22 August 2017

2015

The Netherlands and Belgium are jointly referred to as the Low Countries, the low lying delta of the Rhine, Meuse and Scheldt rivers, that all flow into the North Sea. The two countries have a lot in common – language, arts and culture, food, the flat landscape – and in fact historically were one nation for several periods of time, before eventually the Belgians separated from The Netherlands in 1830.

There are, however, also significant differences between the two states. In the southern part of the Low Countries Catholicism is the main religion, but the northern part is predominantly Protestant, which – at least partly – explains the different national characters of both countries. Or is it the other way around? However, in the Calvinistic north, people generally are strict, surly and thrifty, whereas the southern inhabitants show more joie de vivre and tend to take life a bit less seriously.

This schism is also reflected in the landscape and the way that is arranged. Long straight roads, short mowed lawns and rows of identical terrace houses in the north. Orderly and neat. Well maintained. Densely populated as The Netherlands are, there are only few abandoned and derelict buildings. Land is precious, and will be re-used soon after the previous user ends its activities. Old and obsolete infrastructure is demolished and immediately replaced by new facilities. For economic reasons but also because the Dutch like their environment to be orderly.

In the south we find messy terrains, overgrown plots of land, haphazardly located houses that sometimes look like follies. The Belgians are more individualistic, and therefore want to build their house according to their own taste and wishes, not restricted by rules and regulations. They don’t mind if a piece of land remains unused and is overgrown by weeds. Or when an abandoned factory slowly falls into pieces. They don’t care that their living environment is a bit untidy, as long as they can drink a beer and eat their chips or shrimp croquettes. Live and let live, and mind your own business.

In the eyes of the Belgians (and no doubt many others), the landscape in The Netherlands is flat, clean and boring. To the Dutch (and probably other North Europeans as well), Belgium seems a messy country, with ugly buildings and dirty industries.

It is the beauty of this boringness and ugliness that I want to depict in the series In the Flat Field, which derives its name from the song and album by the English post-punk band Bauhaus. “I do get bored, I get bored, in the flat field” the lyrics go. I’m bored and fascinated at the same time by the landscapes of the Low Countries.

 

REINIER TREUR

Reinier Treur (b. 1961) is a photographer and editor based in the north of The Netherlands. He holds a master degree in Dutch literature and had a career in pr & communications, before he switched to fine art landscape and documentary photography. As a photographer he is mainly self taught. He uses medium format (and sometimes 35mm) analog cameras and color negative film.

He is interested in the relation between mankind and the altered or changing landscape, with a particular curiosity for traces in the landscape that unveil human interventions from the past. He likes empty, dilapidated, gloomy and messy locations as much as excessively orderly and overly neat places.

His work shows the beauty of what most people regard as boring and ugly landscapes.

TREUR.ORG

 

 

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The Last Stand

EXHIBITION BY MARC WILSON
1 – 15 August 2017

2010 – 2014

Between 2010 and 2014, I photographed the images that make up The Last Stand. This piece of work aims to reflect the histories and stories military conflict and the memories held in the landscape itself. The series is made up of 86 images and is documenting some of the physical remnants of the Second World War on the coastlines of the British Isles and Northern Europe, focusing on military defence structures that remain and their place in the shifting landscape that surrounds them. Many of these locations are no longer in sight, either subsumed or submerged by the changing sands and waters or by more human intervention. At the same time others have re-emerged from their shrouds.

Over the four years I travelled 23,000 miles to 143 locations to capture these images along the coastlines of the UK, The Channel Islands, Northern & Western France, Denmark, Belgium and Norway.

It’s large format work and it’s quite beautiful (Paul Virilio’s Bunker Archaeology may be the most recognised photography of sea defences but that’s a different kind of book). Everything is shot in subdued diffused light, the pre-dawn it looks like much of the time, and the way in which the different defences merge and crumble into the landscape of which they are now part… The Last Stand is as multilayered as the landscapes which it features; there’s historical detail wrapped folded over into a chronotopia of functional brutalism, mixed with local touches that feeds into the geological, panoramic and tactical.

All the boxes are ticked in Robert Adams traditional landscape list: there’s geography, autobiography, and metaphor. But on top of that, Wilson gives us a politicised view of landscape and power that ties back to survey photography of Timothy O’Sullivan and the work of Mitch Epstein. Layered into that is an Arcadian vision. With its focus on Northern Europe it’s a dystopian Arcadia; there is a pagan feel to Wilson’s pictures, a syncretic vision where geology, flora, climate and war find a single expression. And it’s beautiful.

Colin Pantell

 

MARC WILSON

Born in London, 1968. Now living in Bath, England. Marc Wilson’s photography documents the memories, histories and stories that are set in the landscapes that surround us.

Marc works on long term documentary projects, such as his recent work ‘The Last Stand’ and his current work, ‘A wounded landscape’. Whilst his previous work focussed primarily on the landscape itself, and the objects found on and within, his current work combines, landscape, documentary, portrait and still life, along with audio recordings of interviews and sounds, to portray the mass sprawling web of the histories and stories he is retelling.

His work was one of the winners at The Terry O’Neill award in 2013 and ‘The Last Stand’ was published as a book in late 2014. It has sold out of its 1st edition by early 2015 and a 2nd edition has now been published.

Solo exhibitions include those at The Royal Armouries Museum, Focal point Gallery and The Anise Gallery, London. Group shows include those at The Photographers Gallery and the Association of Photographers gallery, London and the Athens Photo Festival, 2015.

His work has been published in journals and magazines ranging from The British Journal of Photography and Raw Magazine to Wired and Dezeen.

MARCWILSON.CO.UK

 

 

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Magazine – Cinémascope by Stéphane Guillaume

[click cover to browse magazine]

ORDER PRINTED COPY

Special Edition
July 2017
12 photographs
34 pages

Featuring
Stéphane Guillaume (France)

Printed copy
21×14.8 cm
Hardcover, perfect binding
Euro €13.50

 

Every photograph is a fiction that claims to be true

(Fontcuberta, The Kiss of Judas – Photographs and Truth, Arles Actes Sud, 2005)

My work shows contemplative spaces that create a fictional reservoir. Human interventions, geographical signatures and architectural perturbations all produce their own peculiarities. The banality, absent of humanity, creates a diffuse tension that summons the strange.

 

STÉPHANE GUILLAUME

After studies in art school that led me to teaching, I have abandoned all artistic practice. In 2013, the digital revolution in photography prompted me to reconnect with a photographic practice combining film shot and digitization work. My first photographic research will be done during a trip to Portugal. Then to develop different projects. I took part in my first collective exhibition in March 2017, where I presented the series Décorum. Now I work on several series of which I present: Cinemascope.

STEPHANEGUILLAUMEBLOG.WORDPRESS.COM

 


 


COLLECTOR’S EDITIONS

Two of the photographs found in this issue of Camera Infinita Magazine Special Edition are available to order as a Limited Editions prints for Collectors. These contemporary photographic artworks are curated and sold exclusively online by Camera Infinita. To order, simply click on any of the photos below.
 

ORDER PHOTO PRINTS

 
There are 3 print sizes available:

  • Small: 30×18.6cm, limited to 10 editions
  • Medium: 40×24.2cm, limited to 5 editions
  • Large: 78×45.7cm, limited to 3 editions

All our gallery-grade prints are accompanied by a Certificate of Authenticity, identifying the edition particulars: edition number, size, medium and production date. The Certificate is signed by the artist.

We have partnered with The Print Space, the famous and trusted professional photo lab, based in London, England. Prints are dispatched within 48 hours, and delivered to the desired address worldwide. To guarantee the prints arrive in perfect condition, they are carefully rolled into a protective tube, cushioned with protective paper and bubble wrap, and secured at both ends to ensure a tight and safe seal.

These Collector’s Editions are printed using the following professional archival quality process:

  • Giclée
    Inkjet print. Archival pigment inks. Epson UltraChrome HDX wide gamut inks.
    Canson, Epson, Hahnemühle or Harman papers. Epson printers.

 

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Cinémascope

EXHIBITION BY STÉPHANE GUILLAUME
23 July – 7 August 2017

2016 – ongoing

Every photograph is a fiction that claims to be true

(Fontcuberta, The Kiss of Judas – Photographs and Truth, Arles Actes Sud, 2005)

My work shows contemplative spaces that create a fictional reservoir. Human interventions, geographical signatures and architectural perturbations all produce their own peculiarities. The banality, absent of humanity, creates a diffuse tension that summons the strange.

 

STÉPHANE GUILLAUME

After studies in art school that led me to teaching, I have abandoned all artistic practice. In 2013, the digital revolution in photography prompted me to reconnect with a photographic practice combining film shot and digitization work. My first photographic research will be done during a trip to Portugal. Then to develop different projects. I took part in my first collective exhibition in March 2017, where I presented the series Décorum. Now I work on several series of which I present: Cinemascope.

STEPHANEGUILLAUMEBLOG.WORDPRESS.COM

 

 

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Following Cornelius

PHOTOBOOK BY MITCH KARUNARATNE

[click cover to preview photobook]

2017 / 1st edition
Limited of 100

33 photographs
64 pages
21×29.7 cm
Hardcover, perfect binding

Euro €24.50

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I come from Canvey Island, a small island in the Thames Estuary, 40km east of London. Despite the complex web of dykes and drains built to secure the land by the Dutch engineer Cornelius Vermuyden, in 1621, the land sinks slowly into the mud. Growing up, his name was memoralised everywhere – in my school’s name, in the street names, in shop names – he was the island’s hero.

I was curious to see where Cornelius went after leaving Canvey – so I followed his route from Canvey Island, 100 miles north to the Fens in East Anglia. The Fens, reclaimed from the sea, are still dry as well, thanks to Cornelius Vermuyden. Under every foot of land there are tunnels, drains, pumps, reservoirs, channels, sluices, gulley’s, cuts and embankments that pump, move and drain water continuously to ensure this land remains dry. 24 hours a day, 365 days a year, the tides, farm run-off, water usage, rainfall and ground water are monitored, rationed and controlled to keep everything in balance.

Despite now being almost three metres below sea level, the battle goes on to keep this land dry. Whilst it looks on the surface to be an agriculturally rich, rural, natural landscape – it’s the most intensely managed land in the country.

 

MITCH KARUNARATNE

Mitch Karunaratne is attracted to places that hold stories in the land, where the land shapes and helps give us a sense of identity and belonging. She received a MA in Photography from University of Brighton in 2012. She has exhibited widely both in the UK and abroad, most recently in Norway and Italy. She is a founding member of the MAP6 collective – travelling and creating collaborative projects with the group.

MITCHKARUNARATNE.COM

 

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Following Cornelius

EXHIBITION BY MITCH KARUNARATNE
16 – 31 July 2017

2016

I come from Canvey Island, a small island in the Thames Estuary, 40km east of London. Despite the complex web of dykes and drains built to secure the land by the Dutch engineer Cornelius Vermuyden, in 1621, the land sinks slowly into the mud. Growing up, his name was memoralised everywhere – in my school’s name, in the street names, in shop names – he was the island’s hero.

I was curious to see where Cornelius went after leaving Canvey – so I followed his route from Canvey Island, 100 miles north to the Fens in East Anglia. The Fens, reclaimed from the sea, are still dry as well, thanks to Cornelius Vermuyden. Under every foot of land there are tunnels, drains, pumps, reservoirs, channels, sluices, gulley’s, cuts and embankments that pump, move and drain water continuously to ensure this land remains dry. 24 hours a day, 365 days a year, the tides, farm run-off, water usage, rainfall and ground water are monitored, rationed and controlled to keep everything in balance.

Despite now being almost three metres below sea level, the battle goes on to keep this land dry. Whilst it looks on the surface to be an agriculturally rich, rural, natural landscape – it’s the most intensely managed land in the country.

 

MITCH KARUNARATNE

Mitch Karunaratne is attracted to places that hold stories in the land, where the land shapes and helps give us a sense of identity and belonging. She received a MA in Photography from University of Brighton in 2012. She has exhibited widely both in the UK and abroad, most recently in Norway and Italy. She is a founding member of the MAP6 collective – travelling and creating collaborative projects with the group.

MITCHKARUNARATNE.COM

 

 

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Magazine #3

[click cover to browse magazine]

ORDER PRINTED COPY

Things We Should Sea
July 2017
70 photographs
100 pages

Featuring
José De Almeida (Portugal)
Domina Apostolidou (Greece)
Baptiste de Ville d’Avray (France)
Linda Brownlee (Ireland)
Andy Feltham (England)
Markus Henttonen (Finland)
Douglas Ljungkvist (United States of America)
Marc Llach (Spain)
Ákos Major (Hungary)
Pauliana Valente Pimentel (Portugal)
Gabriele Rossi (Italy)
William Rugen (United States of America)

Printed copy
21×29.7 cm
Hardcover, perfect binding
Euro €30.00

 


 


COLLECTOR’S EDITIONS

Some of the photographs found in this issue of Camera Infinita Magazine are available to order as a Limited Editions prints for Collectors. These contemporary photographic artworks are curated and sold exclusively online by Camera Infinita. To order, simply click on the Collector’s Edition icon in the flipbook magazine or on any of the photos below.
 

ORDER PHOTO PRINTS

 
Typically there are five possible sizes available:

  • eXtra Small: 20cm wide, limited to 20 editions
  • Small: 30cm wide, limited to 10 editions
  • Medium: 40cm wide, limited to 5 editions
  • Large: 60—100cm wide, limited to 3 editions
  • eXtra Large: 110—150cm wide, limited to 1 edition

All our gallery-grade prints are accompanied by a Certificate of Authenticity, identifying the edition particulars: edition number, size, medium and production date. The Certificate is signed by the artist.

We have partnered with The Print Space, the famous and trusted professional photo lab, based in London, England. Prints are dispatched within 48 hours, and delivered to the desired address worldwide. To guarantee the prints arrive in perfect condition, they are carefully rolled into a protective tube, cushioned with protective paper and bubble wrap, and secured at both ends to ensure a tight and safe seal.

Our Collector’s Editions are printed using two different processes, depending on the nature of the photo itself and the photographer’s preferences, both featuring professional archival quality:

  • Digital C-type
    Chromogenic print. Silver based real photographic prints. Continuous tone.
    Fujifilm or Kodak papers. ZBE Chromira printers.
  • Giclée
    Inkjet print. Archival pigment inks. Epson UltraChrome HDX wide gamut inks.
    Canson, Epson, Hahnemühle or Harman papers. Epson printers.

 


 

 

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The Watershed Project

EXHIBITION BY JEFF RICH
8 – 22 July 2017

2012 – Ongoing

A common misconception of a watershed is that it’s all about the water. While water does play a large part, the land plays an even larger role by directing the water to a common point, such as a river or ocean. Thus, human impact on the land directly affects the water that runs over it. In The Watershed Project, I am highlighting the relationship between land, water, and man within the Mississippi River watershed, the largest watershed in North America.

Documenting the development and use of the watershed, the project begins at the headwaters of the French Broad River in Western North Carolina and continues into Tennessee, where it joins with the Tennessee River, and then follows the river on to the Midwest where it feeds into the Mississippi River. These rivers form the arteries of the American landscape. Our tenuous and unsustainable relationship with these waterways is examined by documenting the rivers of the watershed, the landscape of industry and control, as well as the citizens who use the rivers and work to protect them.

The first chapter of the Watershed series focuses on The French Broad River Basin. In the 1950s The French Broad River was one of the most polluted rivers in the country. A local writer Wilma Dykeman described the condition of the river as having “white scum that caps the water’s blackness for mile after mile.” The river was beset with pollution from erosion, which was caused by deforestation, pollution from heavy industry, and the rapid development of the cities within the watershed.

This work shows the constant change that occurs within the watershed of the French Broad River due to man’s presence, as well as natural causes such as floods and erosion. Beginning at the headwaters of the French Broad and following the river through Western North Carolina into Tennessee, where it joins with the Holston River to form the Tennessee River, this project documents the development and use of the watershed. It is my hope that by documenting the rivers of the French Broad, its citizens, and environs, this project will bring attention to the importance of the growing sustainability movement in this watershed and beyond.

Continuing down the system of watersheds that make up the southeastern quarter of the Mississippi River Basin, the second chapter of the Watershed project examines the Tennessee River. The Tennessee River Basin is a system of rivers that sits in the heart of the South. Covering portions of seven states, this project traces the path of the rivers from the prominent dams and vistas of Appalachia, though the Tennessee Valley to the industrial landscapes of the Cumberland Plateau, and ending at the Ohio River. This path reveals how 80 years of the Tennessee Valley Authority, the New Deal era government organization created as a multipurpose agency to provide flood relief and produce electric power, as well as spur economic development through agricultural programs, has ultimately changed the nature of the Basin. The rivers of the Tennessee Watershed, once unpredictable and wild, have been developed into controlled reservoirs ready for recreation, commercial barge navigation, and power production. The TVA’s effect on the region is all encompassing, from the drowned towns and resident relocations spanning the 20th century, to the largest toxic coal ash spill in US History in 2008.

On the Mississippi River the Watershed Project is currently focusing on the Army Corps of Engineers, which manages the flow of the river in spite of the constant cycle of drought and flooding through the use of a complex system of levees, dams, and locks. The documentation of The Mississippi is in progress and is at the very beginning of the process.

 

JEFF RICH

Jeff Rich’s work focuses on water issues ranging from recreation and sustainability to exploitation and abuse. Jeff explores these subjects by using long-term photographic documentations of very specific regions of the United States. Jeff received his MFA in photography at the Savannah College of Art and Design in Savannah, Georgia. His Watershed Project has toured nationally since 2012, with shows in New York City; Portland, OR; Asheville, NC; Bloomington, IN; Akron, OH; Amherst, MA; Morgantown, WV; Nashville, TN and Atlanta, GA. His book, “Watershed: The French Broad River” was awarded the 2010 Critical Mass Book Award, and was published as a monograph in 2012. His work has been featured in Fraction Magazine, Flak Photo and as one of Daylight Magazine’s monthly podcasts. Jeff is an Assistant Professor at the University of Iowa, in the Art and Art History Department. He also curates the weekly series Eyes on the South for Oxford American Magazine. In 2017 Fall Line Press will publish the book “Watershed: The Tennessee River.”

JEFFREYRICH.COM

 

 

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6m²

PHOTOBOOK BY MÉLANIE DESRIAUX

[click cover to preview photobook]

2017 / 1st edition
Limited of 100

50 photographs
82 pages
21×21 cm
Hardcover, perfect binding

Euro €29.50

BUY NOW

 

Mélanie Desriaux observes Man and the vernacular; otherness. Especially, the wild as a conquest of the real. Her work bears reference to that particular history which links photography and exploration. She suggests that, in an age where everything has been charted, every frontier has been crossed, the only discovery left is inside the image itself. Going towards unknown, crossing borders, to find a visible limit and increase a point a view, are her goals. Then, she begins stories, she documents within an elliptical shape.

Her approach is contemplative. She looks intensively to find into the world an image – images – of what she feels into herself. Taking the road it’s looking for the wild, it’s changing landmarks and customs, it’s re-evaluating perceptions, it’s facing one’s fear to reveal the outlines of what limits us. So, the expedition raises metaphysical stakes, political and environmental reflections, and the journey takes on an unexpected thickness.

On Ré island, there is the detention center where are incarcereted the longest sentences of France. In Saint-Martin, one cell is equal to 6m². However, some of them express strongly realities of life – dreamed or lived – and the prison reality. Inside this floating zone, each object, each image, tries to drown walls. Photography is trying to put off boundaries of the document. So, to take the road on this territory of exile is to measure the meaning of penitence. The photographic work becomes the place of an interrogation on manufacturing process; a passage from the document to fiction. On one side as on the other – on the wire – each gesture defines a link to reality and the way in wich Man inhabits the real.

 

MÉLANIE DESRIAUX

Born in 1981 in La Rochelle, Mélanie Desriaux lives and works in France. She graduated from the School of Fine Arts (Rennes, France, 2006), and obtained Higher Competitive Exam in Education, in the Visual Arts, with Photography as a major subject (Aix-en-Provence, France, 2010). Ever since, she has shared her work between artistic orders, teaching and personal research. She also works in the editorial design of artists books. Mélanie Desriaux shows her work in France and abroad.

From 2006 to 2012, she exhibited her work at Le Radar Gallery (Bayeux, France), Art & Essai Gallery (University of Rennes 2, France), and the Federal University of Bahia, Brazil. Her work in the prison of Saint-Martin (Ré island, France) was selected by Carceropolis, along Jane Evelyne Atwood’s work for instance. It is regularly published by the Prison International Observatory, and used by production company as Phare Ouest for instance.

In 2015, she won a scholarship for a wandering photographic tour in The United States. Her point of view of the Oregon trail earned her the first Fisheye magazine Jury Prize, handed over by Theo Gosselin and Maud Chalard. In 2016, she was selected by Pascal Amoyel to exhibit this work in Bowen Island (Vancouver, Canada) for FotoFilmic / PULP Gallery & Store. Also, she has been part of the David Stewart’s selection among 20 finalists for Youthhood, Life Framer Photography Prize. Her works was published by C41 magazine for instance.

In 2017, Mélanie Desriaux will show pictures produced with Observatory of Paris (France), for the 350 years of the site.

MELANIEDESRIAUX.NET

 

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