Noir/Chroma Spotlight: Marlene Hilton Moore

Jan 3 – Feb 28 2019

Opening reception January 17 2019

Peter Dušek, Alan Dunlop, Susan Kerr, Kerry Hayes, Marlene Hilton Moore, Leah Oates

Sister to Botticelli_14555

What is your process?

My photography exclusively depicts photographs of an individual woman and her place. I approach the medium of photography conceptually and orchestrate each series to my vision of the individual woman who is the subject of the work. I develop a concept that integrates the woman, her place, and a dress and then I abandon to the joy of discovery. Fleeting glances, pointed gaze, and body language all reveal a distinctive identity. I allow the camera to be a critical tool but the evocative image is the defining ingredient.

Do you see common themes in all of your work?

Women and their place is the subject of my photographic work. There is the essential
theme of a woman, a place, a dress and a vision. Accidental elements of light, motion, and mood create unique moments that add to the resonance of each image.

In your opinion, what makes an image powerful.

Photographs that capture what is universally human yet exhibit personal and intimate
identities are powerful. Images presented within the framework of beauty and truth create indelible artwork.

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Endangered

Endangered
November 12-December 24
Reception: November 15 | 6-9pm
Artist Talk: December 4 | 6-7:30pm

Artists: Monica Glitz and Philip Jessup

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Philip Jessup

Monica Glitz and Philip Jessup are two contemporary Canadian photographers who have devoted their bodies of work to exploring the sublime in endangered spaces that—at least for now—have been saved by government conservation efforts.

Glitz has photographed UNESCO World Heritage sites over the past twenty years, from Angkor, Cambodia to Easter Island, Chile to Stonehenge, England. Her images look back in time and capture the awe of ancient splendor.
Jessup has photographed significant natural landscapes endangered by sea level rise that governments are seeking to conserve, from Sian Ka’an Biosphere Reserve, Mexico to Mandalay National Wildlife Refuge, Louisiana to Assateague Island National Seashore, Virginia. His images express the beauty we could lose if we don’t turn the tide on climate change.

Local communities benefit from tourism and other services generated by the archaeological sites and natural landscapes these two photographers visit. For instance, indigenous Mayan guides and lobster fishermen have formed business cooperatives to promote thriving local businesses.

Both photographers have developed unique styles that distinguish their respective bodies of work. Glitz made the curatorial decision to pursue producing her images using a historical, and very permanent, printing process. Her images are printed using gum bichromate, a hand coated process that will last hundreds of years, perhaps outliving the subject matter. Jessup shoots in medium format and strives for brilliant color and arresting spatial compositions that hark back to the Japanese woodblocks of Hirosige.

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Monica Glitz

Call for Submissions: Noir/Chroma

Jan 3 – Feb 28 2019
Opening reception January 17 2019

The Connections Gallery is seeking submissions for a two month exhibition in early 2019.

This exhibition, Noir/Chroma, showcases exquisite black and white images and images exploring colour. No specific theme.

Photographers will each have one 30″x37″ mounted print.

This exhibition is being printed in its entirety by Bob Carnie, each photographer will receive their mounted print once the show comes down. There are two choices for production methods of images. The hybrid historical-contemporary Lambda will be used to produce the black and white silver gelatin prints, or artists can have their work printed via inkjet for black/white and colour. Bob will work together with the photographers to choose their best image and printing method. Promoting the printer/photographer dynamic, printing will be a collaborative effort.

Logistics

Each artist will have either:

1- 28×28” approx. Lambda print mounted on 30″x37″ art board

OR

1- 30″x37″ inkjet print mounted on the same size board

Exhibition fee + Production: $700 plus tax


Submissions

Send up to 5-10 JPEGS

Bio

Statement


Contact

Carissa Ainslie carissa@alternativephotoservices.com

Vancouver and Capture!

Carissa just returned from Vancouver where she was stationed for ten days. We rented a pop up space for two weeks in Chinatown, installing Series, Clearcut and Ipseity.

Series

From Front 2

SERIES brings together five photographers with five different stories to tell. Salina Kassam, Thomas Brasch, Larry D. Hayden and Skip Dean have explored their own environments through the photographic medium.


Clearcut

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The intersection of man and nature is a dominant theme in Matthew Plexman’s work. Clearcut captures the evolution of an old logging road in northeastern Ontario: old sections are blocked off and new routes added, leading to new areas of logging activity. The borders between clearcut and forest are abrupt at first—open areas of chewed-up earth and toppled trees abut untouched woodland. Over time, the process of healing begins and the borders blur. Plexman attempts to find beauty and symmetry in the tension between destruction and regeneration, inviting dialogue about the conflict inherent in our dependence on nature for both resource extraction and emotional sustenance.


 

Meeting New People

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Carissa had the pleasure of meeting some really interesting folks on her travels. Sally Buck and Kent Lins popped up their photos in cube vans every weekend during the Capture Photo Fest.

She also got a fantastic tour of the new Emily Carr University campus by photo studio tech Geoffrey, and met up with Kathy from Beau Photo.

With a bit of down time, she also got to take in some of the sights of Vancouver and Whistler.

 

 

Pigment NYC and Toronto

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Pigment is a group photography exhibition that explores the concept of colour through the historical gum bichromate process. Each photographer has two prints in the show, printed by Bob Carnie.

Artists

Lori Ryerson, Linda Kooluris Dobbs, Bryan Helm, Bob Carnie, Shelagh Howard, Thomas Brasch Brendan Meadows, Ian Campbell, Cory Wilyman, Lorraine Parow, Guy Lafontaine, Paulette Michayluk, Janet Holmes, Alan Dunlop, Laura Paterson

*New York April 6 and 7 Bushwick Community Darkroom*

Pigment will pop up at the Bushwick Community Darkroom April 6 and 7 2018. These dates were chosen so that participating artists who wish to visit the city during the exhibition can attend The Photography Show presented by AIPAD.

Facebook event HERE

*Toronto | May 2-June 29 Lonsdale Gallery*

The prints will return to Toronto where they will become a part of Red Light, an exhibition at Lonsdale Gallery. This juried salon show will exclusively feature alternative prints by artists from around the world. Red Light is a feature show in the CONTACT Photo Festival.

Lori Ryerson Gum Bichromate-Prop Plane, Deer Lake

Lori Ryerson

 

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Alan Dunlop

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Thomas Brasch

In En Transition Spotlight: Caroline Hayeur

In/En Transition

March 1-31 2018  | Opening Reception March 2 | Artist talk March 3

In/En Transition presents an exchange of photography by exhibiting six Quebec artists in Toronto, and six Ontario artists in Montreal, reinforcing a sense of community between the two provinces.

Artists- Toronto- Connections Gallery
André DenisNathalie GarceauJudith Bellavance, Caroline Hayeur, Jean-Francois LeblancGuy Lafontaine

Shanghai

How has your process changed over your career as a photographer?
I have been working in documentary photography since the early 1990s, and making the transition to digital is definitely the biggest change I have had to go through. Although the change was a lot of work, I am not nostalgic about silver based photography. I embraced the new technology and started playing with these new possibilities, creating montages, digital patterns, and creating music videos and live multimedia performances. This has allowed me to expand my practice into movement and sound, as well as working in collaboration with multidisciplinary artists.

Bio

The ever-optimistic artist Caroline Hayeur focuses on themes of humanity, emotion and
connections between people through a practice deeply rooted in the present moment. Drawing on her experience of field photography since in the early 1990s, she is interested in concepts of place and home in various forms of relationship: friendship, families and broader communities.
In the spirit of documentary storytelling and humanistic portrait, her work illuminates
surprising connections between subjects through juxtaposition and proximity. Many of her projects began as artist residencies and community art, either in Quebec or internationally.
In 1997, FESTIVE RITUAL: PORTRAITS OF THE MONTREAL RAVE SCENE marked the
beginning of a long-term exploration into the world of nightlife and dance. After it’s exhibition during The Mois de la Photo à Montréal, the show toured worldwide through the FNAC Photo galleries (France, Europe and Asia) for over ten years. FESTIVE RITUAL, TANZ PARTY and later AMALGAT: DANSE, TRADITION ET AUTRES SPIRITUALITES (2003-2007) address the theme of the body-in- movement and have been presented as books, websites and exhibition tours. HUMANITAS, a series of portraits showing extreme emotion from birth to death, is presented several times in Quebec and also in Toulouse (France) during the festival ManifestO in 2013. With ADOLAND, she pursues her voyage in the world of adolescence. Her latest project named ABRAZO return in the field of dance, true the practice of tango from Buenos Aires to Montreal.
Since 1994, Caroline Hayeur has been a member of the Montreal-based Collectif Stock Photo — a group of independent photojournalists. In 2012, the collective celebrated its 25 th anniversary with the exhibition 25 YEARS OF STORIES under the artistic direction of Hayeur, with a dozen photographers presenting retrospective work at the Zoom Photo Festival Saguenay International
Meeting of Photojournalism. She was also Zoom speaker of honour in 2013. Hayeur collaborates among others with the ONF Interractif since the debuts of the studio.
Caroline Hayeur teaches photojournalism at l’École des médias, Faculty of communications at The Université du Québec à Montréal.

In En Transition Spotlight: Jean-Francois Leblanc

In/En Transition

March 2-31 2018  | Opening Reception March 2 | Artist talk March 3

In/En Transition presents an exchange of photography by exhibiting six Quebec artists in Toronto, and six Ontario artists in Montreal, reinforcing a sense of community between the two provinces.

Artists- Toronto- Connections Gallery
André DenisNathalie GarceauJudith BellavanceCaroline Hayeur, Jean-Francois Leblanc, Guy Lafontaine

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How has your process changed over your career as a photographer?

I believe a good image should not only contain information that invites reflection, but also be aesthetically pleasing and trigger emotion. It must be self-explanatory, and not require words. In my practice, photography is a means of recording a scene directly, without artifice. The image is constructed when it is shot, and not subjected to major modifications afterwards. This concept of photography respects the ethics of photojournalism and the documentary process. Subjectivity and creativity are expressed in the choices made and in the very act of photographing and not in subsequent image alteration.

Bio

Jean-François Leblanc has dedicated himself to photography since 1982, when he got his
Bachelor’s degree in Communications at l’Université du Québec à Montréal. He started his career as a photographer while working for many neighborhood community newspapers in Montreal. In 1984, he became the official photographer of Montreal’s International Jazz Festival. In 1987, while working full-time for Le Matin, a new Montreal daily, he decided to create Agence Stock Photo, a collective of photographers committed to photojournalism.
His artistic approach has always been coherent during his career as a photographer. The
recipient of grants from the Canada Council for the Arts and the Conseil des Arts et Lettres du Québec, he has presented, since 1984, many exhibitions on his personal projects at, among others, the Montreal Maisons de la Culture network, and also during the Mois de la Photo period in Montreal. Abroad, his work was presented in Mexico during the Mes de la Foto in Merida, in over forty Europeans cities through the FNAC galleries network and during the Rencontres Internationales de la Photo d’Arles in France. His work can be found in the collections of the Quebec National Museum of Fine Art, the network Accès-culture of the City of Montreal ( PADORAC), the Cirque du Soleil and Post Canada.