Michael Snyder

Darksome | The Scottish Highlands have a power to capture the imagination in a way that few places on this planet can.  Perched on the craggy edge of the North Atlantic, the Highlands instantly conjure up images of rocky precipices, lonely lochs, and rainswept moors.  And indeed, their reputation as one of the world’s great epicenters of gray and gloom is well earned.  Fort William, the largest town in the Western Highlands gets just over 1,000 hours of sunlight per year. 

By comparison, that is less than half of the annual sunlight hours of America’s most famous capital of rain, Seattle.  Further north than Siberia’s frozen Lake Baikal, windier than the steppe of Mongolia, wetter than London, and more sparsely populated than anywhere in mainland Europe, the Highlands are a destination for those who seek the solace of lonely spaces.  I lived in Scotland for four years and took many journeys to the Highlands, including a solo circumnavigation of the Scottish coastline by bike.  Darksome is an exploration of these spaces and a love letter to the quiet beauty of desolation and dismal wet.

 "This darksome burn, horseback brown,
His rollrock highroad roaring down,
In coop and in comb the fleece of his foam
Flutes and low to the lake falls home.

What would the world be, once bereft
Of wet and of wildness? Let them be left,
O let them be left, wildness and wet;
Long live the weeds and the wilderness yet." from Inversnaid by Gerard Manley Hopkins www.michaelosnyder.com

James Kuan

POTENTIAL SPACE | In human anatomy, “potential space” is the tension-heavy void between two adjacent surfaces pressing up against each other. In my own life, a similarly complicated space exists between my identity as an introvert, and my perceived need to be an  extrovert.

I created this series to represent my continued balancing of self-erasure and self-exposure.

As a surgeon, I cut, repair and reconstruct. Over the past few years, I’ve adopted a similar practice with my photography, incorporating collage, layering and abstraction to activate surface as a metaphor for absence and embodiment. www.jameskuanphoto.com

Sasha Bauer

Matryoshka Dolls | I have asked my mother to tell me about the similarities and differences she sees in me, her and my grandmother. I have learnt a lot about three of us from what she told me. When I have matched mother’s comments to the photos of our ways of life I have suddenly realised that my project turned into a search for similarities and differences, and that it is not so much about the answer, but about the search itself. 

It is hard to say now why I have chosen to photographically present the story about my grandmother, mother and myself. I live away from my family and despite of our regular and warm communication, at some point I stopped feeling the connection with them. I started noticing that my life is quite different from the ones of my mother and grandmother. But then I remembered that there is at least one thing we have in common: all three of us left our parent’s home at about the same age. 

My grandmother lives in the remote village that my mother left for a new life in the city. My mother lives in the small city that I left for a different life in the big city. Both my mother’s and grandmother’s husbands passed away untimely and their children grew up and left. 

Most of us have fears of repeating the life of our parents. We don’t want to be like them. I felt some sort of an excitement when I saw how much my mother and grandmother have in common. Then I got really interested in how honest I can be with myself when I compare my life to theirs… 

Since this project turned out to be very personal it became hard for me to have a logical analysis over the photographed material. For this reason I asked other people to give me a feedback on what they see in this work: 

You are everywhere there. It looks like you looking for your own traits in those people — in your mother and grandmother — to be exact, you are looking for what actually connects you all. Also I see the story of life repeating itself. The lives of three women in one family are similar and you all have a lot in common. © Ilya

Me: Are you afraid to be like mum? Sister: I guess, I am. I started noticing that I act like mum sometimes, and it scared me. But then I realised that we are family and it is just inevitable. We are different at some things and similar at others — and it is normal.

This is about you through the prism of our family history. © Mother 

I enjoy looking at these photographs. Just like you, I have a strong emotional connection with each picture. I saw all that many times and it is still very interesting. These photos give me a chance to take a detached view: to look at things with stranger’s eyes. © Sister Me: Here is the auto portrait and plates Yana (tutor): Good. Otherwise there was not much of you. Me: There is a lot of me. This is all me. Yana (tutor): Yes, yes. But only you and I know about it. sashabauer.com/en

Bootsy Holler

WITHOUT WORDS grounded in nature | Without Words is a visceral and subconscious way back to the self through nature.  Unable to articulate my personal struggle, these images bring visibility to my feelings of vulnerability, fear, and truth. These are moments manifested from my psyche, disembodied from my day to day existence. 

The spark for this series came from an illuminating moment in Savannah when I found myself alone in the humid night air. I walked to the railing of the deck and looked out to see my body face down in the pool below.  I didn’t know it then, but the feeling of detachment, and the  experience in that moment would follow me through the next few years.

Nature, in its complexity, its sense of survival, and its inherent beauty, helped me return back to my body. When I dug into the earth, felt the sea and the wind, and connected to the essence of myself, I found a way back home.  www.bootsyholler.com

Kristine Heykants

Heykants – American Beauty | It was the summer of 1993 and I had just returned to the US after living overseas for two years. I landed in Iowa and was studying photography. Roaming back-country roads in search of subjects that resonated with my new-found outsider’s perspective on my homeland, I was also exploring ideas about the value of women.

After happening upon a circus performance, I was attracted to the county fair and rodeo queen pageants that populate in the rural countryside in summer. They distilled my personal sense of indoctrination for consumption by the male gaze, and I could identify with a desire for validation.

At the time, I was looking at Diane Arbus’ iconoclastic portraits that revealed the humanity and frailty of her subjects. In this vein, American Beauty documents popular events at the intersection of women and the judgement of beauty. kristineheykants.com

Wong Wei-him

’Hong Kong, somewhere in-between’ | captures the insignificant parts of my city, and the arrangement of things that remind us both the unpredictability and imperfection of life. Being an architect, my work shapes how people work and live, but this is just the very beginning. In time, the city and the citizens evolve what architects and designers have created in forms of addition or subtraction. Most of these changes are unaesthetic, sometimes unintentional and most of the time unforeseeable.

I am interested in these phenomenon. Photography allows me to record these changes over time. It is an art form about observation of our society. www.wongweihim.com

Sharon Zobali

I was born and raised in New York to a multicultural family. My American mother’s family originates from the Ukraine, while my father’s family is native to the Middle East. Being multicultural, I never felt like I belonged to any specific place or had a home.

I moved to Israel when I was eighteen to be closer to my father’s side of the family. My father’s family originates from Yemen, but dreamt of a new and better life in the Holy Land. They eventually left and walked by foot from Yemen through the desert to the Ottoman Empire, now the State of Israel. On the way to the Ottoman Empire, my family settled for a short time in Alexandria, Egypt, where my grandfather was later born.

While I was studying photography at Bezalel the Academy of Art and Design in Jerusalem, I decided to travel to Egypt to learn more about the history of the country and to see where my family once lived. The photographs, shot on a vintage 120mm Hasselblad camera, capture modern day Egypt. My series on Egypt not only captures the beauty of the diverse life in Cairo and Alexandria, but the steps of my family’s history. www.sharonzobali.com

Valentin Sidorenko

Roots of the heart grow together | My family had always been a whole thing – relatives from my mother’s and father’s sides had gathered for weddings, birthday and New Year parties. That bond was beginning to break when I was born, in the middle of the 90s. Family members died before I could get to know them, talk to them, love them. Years later I started meeting them separately via our family photo archive. Thus my family roots research has begun. 

Steve Braun

NONE OF US / KEINER VON UNS | The term home has repeatedly been the subject of ambitious photographical examination. What is home to us? Who actually is „us“? Is it even possible to answer this question collectively? Possibly not because the key to the understanding of this word primarily depends on the personal,the individual and biographical experience.

Dasha Raiskaya

Fisherman’s Daughter | SOMEWHERE there IS MY BIG FISH.In fishermen it’s like this: it’s better to go fishing alone. Immerse yourself in the process. In silence. Without being distracted by extraneous sounds. Focus and imagine that you are pulling out a big fish.“Somewhere there is your big fish!” - said my dad, since childhood hardening me to go towards my goal.We had a difficult relationship. We are like two fish: trying to say something to each other, but do not understand each other.

Through this project, in silence, I try to focus and understand my dad. I am conducting a fictional dialogue with him. Through his favorite hobby, through places where a person is left alone with himself and the world around him.

In this project, intertwined stories of sensations from different places. The story of the city on the water and life on the island. About the country at the other end of the world, where the salty ocean and fishing camps are. About my house, where I, being a little girl, first saw the morning mist on the water and how my dad fishes. About other places where I will be and there will also be a lot of water. It seems to me, wherever I am, I will always feel this invisible connection with my dad. As if silence would say more than a thousands of words. www.dasharaiskaya.ru

Melissa Lynn

American Mosaic | My American Mosaic portrait series celebrates America’s rich multicultural heritage and traditions. The ‘melting pot’ metaphor is being replaced by new metaphors like ‘mosaic’ which suggest an integration that blends yet preserves each culture’s unique qualities rather than promoting one homogenous culture. The photographs illustrate the beauty of a diverse society and explore identity and self-expression.

I have attended many multicultural celebrations and festivals in Colorado over the last five years to find the individuals in this series, all of whom are proudly wearing their own traditional dress. It has been an amazing photographic journey that has enabled me to meet so many remarkable people whose ancestry spans the globe.

My goals for the project are to help preserve ancient traditions passed down through the generations and to encourage cross-cultural understanding, intercultural dialogue, and harmony. www.melissalynnphoto.com

Whitney Bradshaw

Slow Release | Slow Release, is a document of a fleeting moment of major transition, one which ends as our daughters, in the act of becoming and forming their own identities, prepare to move out into the world on their own. I chose to embark on this project when my daughter, Ruby, turned 13 and I was 46. That year seemed to mark the beginning of one of the most pivotal periods in our relationship and in our own separate and personal development. We found ourselves simultaneously traveling through adolescence and peri-menopause; both major biological shifts heavily weighted and prescribed by society as notoriously difficult. So fraught are they that even before we have fully experienced them we fear and perhaps even dread them. I wanted to document this journey, in part to be able to hold onto us, our togetherness and in part to picture the complicated nature of mother-daughter relationships, while questioning the negative socially constructed narrative. The resulting images of Ruby and our community of mothers and daughters of the same age, push against the dominant narrative.

Jim Ferguson

The Harmony Series | In New Orleans jazz many layers of music and instruments come together in harmony creating something much more compelling than its individual parts.  That’s exactly my goal in my new series which I’ve named “Harmony”.  Done in-camera, the disparate elements in the image and multiple layers unite becoming visually and compellingly complex.

Music as a metaphor works for me.  I see my individual images as combining visual elements in harmony.  Each image is like a different songs with my visual playlist of images growing in new ways as I continue on my creative journey. 

I have the same philosophy about photography as Alex Webb.  Webb believes that “photography is a creative journey, one that’s intuitive rather than rational, spontaneous rather than preconceived.”  Shooting intuitively, exploring and discovering, I wait until a scene raises its hand and warrants a pause.  I see the world as my visual playground. 

​Having been born cross-eyed, corrective surgery left me with no depth perception.  I’ve taken this handicap and turned it into an advantage.  Since my vision is different than my viewers, I want the images to spark the viewers own relationship with the photograph. 

Stephanie Taiber

Being Home | Presenting an experience of being home and the pressures of motherhood, I am exploring different states of “being” within the microstructure of house and family. Memory and daydream are the fluctuations of an internally focused mind, moving in and out of the present moment.

We drift apart despite our needs and our incessant wants. Here, a sense of longing is concealed by a need for privacy or separation. Within the sanctity of home, presence is often interrupted by something real and mundane. I am interested in where the mind wanders during these rifts and interruptions.

The landscape of these projected values can be soft, almost ethereal, self-soothing and escapist, or tinged with harshness, abruptly bisected by a fear of division and loss. I try to find honesty where it lingers, often unseen or overlooked, and bring it some kind of form. www.stephanietaiber.com

J. Daniel Hud

These photographs show the soldiers, volunteers, and civilians shaping the conflict in Ukraine on and off the frontline. In the beginning of the war when Russian-backed separatists were advancing through large pieces of Ukrainian land facing resistance only from poorly prepared government troops, The Ukrainian government encouraged the creation of volunteer militias to combat the push of the separatists.

These militias were created around specific ideologies often drawn from historical movements in Ukrainian culture. Many of these battalions feature explicitly fascist ideologies, all of them have different goals for the future of Ukraine. Civilians in Eastern Ukraine often have no choice other than to have their cities host rotations of these non-governmental armies of men, some of them sporting haircuts of 15th century slavic warriors, wearing insignia referencing the third reich, and bearing arms banned by the Minsk agreement.

Given their success on the battlefield, many civilians prefer certain volunteer battalions. The battalions have made a number of efforts to have a broader impact on Ukrainian society with some making moves into politics and others creating youth sports groups. The unique conditions created by this war have made Ukrainian society a petri-dish for a new kind of militant nationalism. My photographs explore where these ideologies meet the conflict, the culture, and the politics of the new Ukraine. www.jdanielhud.com

Sarah Malakoff

Personal History | For as long as I can remember, I have had a preoccupation with domestic interiors. My long-term photographic project looks at the ways we arrange our most intimate spaces. Our tastes, personalities, quirks and culture are expressed through our décor choices – sometimes intentionally, but often without realizing bits of our most authentic selves have seeped to the surface.

In this body of work, I look closely at objects we display within the home that reference history and culture. These items may speak to the ancestral lineage of the occupant or perhaps merely a desire to appear sophisticated or knowledgeable. Whether they are paintings, photographs, or sculptures of historical figures or events, documents or books, they point to a longing for connection to the past and an engagement with the world at large. They resonate, often humorously or uncannily, with the other objects and architecture that surround them. This collection of private spaces asks the viewer to imagine the people who inhabit them and their relationship to these histories. www.sarahmalakoff.com

Micah McCoy

Articles of Faith | This body of work is tentatively titled, “Articles of Faith”, and explores my unique experience with religion and my memories of growing up in a a fundamentalist Christian church. Themes of segmentation, alienation, and memory are present in the work and important in understanding my relationship with the church. The work was shot in my hometown around the churches I attended growing up as well as at our family home. Shot on black and white film and developed with well water from our rural farm, the work is intended to evoke nostalgia and melancholy. I combined self-portraits as well as portraits of my family to create a cast of characters that could stand in for my memories. Throughout the process of making this work I attempted to come to terms with my conflicted feelings about my upbringing. The photos created tell my story and exist as a proxy for my memories. www.micahmccoy.com

Carl Bower

Chica Barbie | The pageants of Colombia provide a distilled environment for examining the nature of beauty and how we cope with adversity. Set against a backdrop of poverty and decades of armed conflict, nowhere are the contests more ubiquitous and revered. In these carefully scripted shows of fantasy, beauty as a concept, commodity and singular goal is stripped to its raw elements. There is no ambiguity or pretense that anything else matters.

The queens are celebrities. Icons of a rigidly defined ideal, the contestants highlight the conflated relationship between beauty and attraction. Many of them seem familiar, stirring recollections of the same perfect features seen elsewhere, along with identical flirtatious laughter, mock surprise and relentless optimism. In their quest for adoration, they erase all traces of individuality.

While the inherent objectification of the contests and the values they convey to young women often provoke outrage and ridicule elsewhere, in the Colombian context the issue is more complicated. The millions who pack stadiums and follow dozens of national contests on live television often have a vicarious relationship with the queens, clinging to the fantasy of magically transcending poverty. The queens themselves often claim to be working the situation to their advantage, even as they perpetuate a mindset which ultimately limits their opportunities.

The popularity of the pageants ebbs and flows with the level of violence in the country. The contests project an image of normalcy and vitality in the face of social upheaval and fear, a refusal to be defined by the violence or to live as if besieged. In a country rife with conflict, the pageants are a form of both denial and defiance. www.carlbower.com

Tricia Capello

The Space Between | WAHE GURU: Wahe Guru ਵਾਿਹਗੁਰੂ : Wahe "wondrous" + gu "darkness" + rū "light" is that which reveals truth and triggers destiny.

This mantra expresses the indescribable experience of going from darkness to light, from ignorance to true understanding. It is the infinite teacher of the soul.

“Something amazing happens, “WAHE GURU”. Something very painful happens, “WAHE GURU”. It takes you into the between, and that’s the realm of blissfulness where you can alter the circumstances of your life in a dharmic fashion. That’s where you access the tantric life force, it is in the between.” -Jai Dev Singh

The space between in essence is the center of all creation, the vesica piscis, the seed from which all is and has been created. This body of work brings together the power and energy of ancient mantra, signs and symbols. It harnesses them into understanding daily contrast by exploring the journey and revelations from the wonders of the dark, the light and into the vitality and stillness of the space between. All images are found moments as they occur in the everyday, with little to zero post-production. www.triciagahagan.com