Feature: Bryan Banducci

Feature: Bryan Banducci

Feature, Uncategorized

Bryan Banducci knows what he is doing. Bay area born & educated, now based in Brooklyn, he knows how to tow the line between personal work, skate photography, & commercial work. He some how flows between styles with ease, with a consistent aesthetic pervading. Skate kids, strangers, & beautiful landscapes scatter his work & almost form mini narratives a la day in the life.

You should also check out his zine LOSING/ FEELING put out by the dudes over at A Love Token. We haven’t seen a copy in person but from the preview on his website, it looks exactly like a zine should. A time span of photographs to convey an overall emotion, grainy & out of focus, crisp perfect vast landscapes all smashed together to tell the story of a time & a place.

 

Please find more of Bryan Banducci’s work on his website. 

Feature: Ruth Mcmillan

Feature: Ruth Mcmillan

Feature

Ruth Micmillan’s photographs read of multiple stories in one. Over the last few days, I have returned repeatedly to her website, in order to figure out the narrative, the hidden stories, anything. By leaving open ended answers, she is able to make the viewer ask endless questions. While mixing the styles of Cindy Sherman & Jackson Eaton, she makes us wonder if these self portraits or someone in life close to her, while referencing vaguely similar looking females of varying ages.

Please find more of Ruth Mcmillan’s work on her website. 

 

Feature: Erich Brumback

Feature: Erich Brumback

Feature, Pictures, Spotlight

Today we bring you the photographic work of Erich Brumback, currently creative writing student living in Virginia.

“The majority of these photographs were taken on slide film. I tend to associate the higher saturation and more narrow exposure latitude of this kind of film with the emotional intensity and specificity of memory. Our experiences become memories only with distance. Something we saw or heard someone say will stick with us, and the rest falls away as we move further along from the event. I’ve always found quieter moments to be the ones that stick with me most easily, lulls in conversation or wandering to places that gave me some sense of peace. These photographs are intended to convey those kinds of moments and to offer the viewer some of the same reflection and clarity I get from them.”

Please fine more of Erich Brumback’s work on his website.

Feature: Brent Adkins

Feature: Brent Adkins

Feature, Spotlight

Brent Adkin’s recently sent some work our way, have a look.

“the mundane” is an ongoing series of photographs that capture the everyday moments that we tend to overlook or dismiss. They represent reality in a detached and analytical manner, shining a spotlight on an empty dining table or an “everything you could ever need” store, leaving the viewer to stop and consider what these things mean to us as individuals and as a society. When you step inside a person’s home, you see a reflection of who they are, and the same goes for communities of any kind, large or small. We express ourselves a lot more than we realize, often in ways we are unaware of.

fts ", the mundane"

fts ", the mundane"

 

fts ", the mundane"

fts ", the mundane"

fts ", the mundane"

Please find more of Brent Adkin’s work on his website. 

 

Feature: Fabrizio Albertini

Feature: Fabrizio Albertini

Feature, Spotlight

Genius Loci Vol.1 is an autobiographic statement. It is a daily journey that was born as much from the will of maturing as a photographer as from the necessity of facing a long convalescence. Each snapshot is the destination of a travel at your fingertips, a trip that was almost always an Italian one, in which, with selective and precise criteria, I was looking for the presence of color, composition and light. Realized between the summers of 2012 and 2013,  Genius Loci Vol.1 walks the spectator through a few recurring paths: Milan, the water, the vegetation, the animals, the non-place, the Virgin Mary. They are all pacific environments, reassuring in a certain way, and in which I’ve always searched for order of things.

The location choice was rather accidental. Often I just happened to find a space that I liked and I waited and waited, until something, just about anything, would appear and complete it.

fts Genius Loci Vol. 1

fts Genius Loci Vol. 1

fts Genius Loci Vol. 1

fts Genius Loci Vol. 1

fts Genius Loci Vol. 1

fts Genius Loci Vol. 1

fts Genius Loci Vol. 1

 

Please find more of Albertini’s work on his website. 

Interview: Marcel Rollock

Interview: Marcel Rollock

Feature, Interview, Spotlight

We recently asked Marcel Rollock some questions about his work & his new zine, Serenity Now.

Empty Stretch: Age/ Location
Marcel Rollock: 24 / Brooklyn

ES: How did you get into photography?
MR: I started taking pictures when I was 17 or so while living in Australia. Our group of friends were always skating or going out drinking and doing stupid, random stuff and taking pictures of it all just seemed normal. A couple of few of us would bring cameras and I was one of them. Shooting on film was the cool thing so we would go around to goodwill stores or whatever and pick up cheap 35mm cameras.

ES: What were some early influences?
MR: Definitely being exposed to so many places growing up, my family, friends and music. The homie Lloyd Stubber was coming out with some rad stuff and really seeing his pictures and feeling a connection to them was cool. My girlfriend Shay Richardson would always be showing me her latest shots and rolls of film which kept me wanting to shoot more.

EmptyStretch_MarcellRollock_03

ES: What made you decide to do a zine?
MR: It had been something on my mind for about a year before starting it and I have always thought photographs are better in print. Looking though a zine gives you a whole different feel then just looking at pictures online.

ES:  What were decisions in sequencing/ editing/ layout?
MR:It terms of sequencing and layout I really just went with what felt right. Nobody knows your photos better than you and that being the case it was just a matter of putting photos in an order that complements them the best. All works were shot on film so the only editing done was for printing purposes for example dpi.

ES: Any newer zines recently that you’ve enjoyed?
MR: ‘The Last Best Place’ by Brian Merriam just made me want to move to Wyoming. ‘Division of Vision’ by Jay Dymock and Lloyd Stubber has those Aussie vibes and ‘Play’ by Pat O’Rourke is sick!

ES: Do you decide whats a photograph while shooting or during editing? Are you more documenting time of a scenario or composing an image?
MR: Shooting solely on film forces you to decide what a photograph is while taking the picture and that is what’s so appealing about it, you are telling a story in a way. In the past I have used digital cameras but never really liked the results.

Find more of Rollock’s work over on his website.

Feature: Brandon Wilson

Feature: Brandon Wilson

Feature, Spotlight

Brandon Wilson

Brandon Wilson’s website is cryptic, with little information or direction. No titles or series names, but he’s allowed to, because his photos are really good. He seamlessly weaves between urban and rural landscapes, switching from abstract and obscure to definitive and right back again. He has a great eye behind the camera, as well as in his sequencing. See a selection of photographs below and make sure to check out his website for more photographs.

Brandon Wilson

Brandon Wilson

Brandon Wilson

Brandon Wilson

Please find more of Brandon’s work on his website.

Feature: Matthew Swarts

Feature: Matthew Swarts

Feature, Petty Thieves, Pictures, Spotlight

If you’ve been following us for a bit now, you’ve probably heard Matthew Swarts‘ name before. His work has been featured on here before as well as almost everything we’ve done over the past year, including Petty Thieves Four. His photographs have an eery painterly quality and leave the viewer asking questions, rather than leaving with any answers. He recently sent us over some of his new work and it picks up where the rest of his work left off. 

In his own words

“Soon after I moved to Somerville, Massachusetts in 2002, I began to gut renovate the living unit of my old two family house. When I (literally) took apart my house, I began to re-imagine the narrative of this particular space.

I have recently begun to try to photograph what I love about the feel of Somerville’s side streets, the interstitial relationships between large old houses, and, in particular, a certain quality of this city’s light. 

These images are just evolving, and I expect to work on this project for some time, but I feel quite clearly that these photographs are a new attempt to touch how it has felt to become part of a place, and yet, to not really be a part of it at all.”

fts City of Concern

fts City of Concern

fts City of Concern

fts City of Concern

Please see the rest of the images here. 

Beholder

Beholder

Books, Interview, Spotlight
Down the rabbit hole that is the internet, I stumbled upon the photographs of Chris Cox. I enjoyed them & kept clikcing links. Over the next few days, I would keep coming back to the photographs that make up the series Spiritual Lake. When I found out he was releasing a new book, I knew I had to have a copy. We asked him a few questions about his process & work. Be sure to get yourself a copy of the book, from Gaspard Gallery.

Beholder by Chris Cox

Empty Stretch: Can you talk about how you got into photography & major influences to you & your work. You have very a mystical aesthetic, a certain combination of failure & hope, where is this derived from? 
Chris Cox: A distinct moment for me was when I was introduced to Jeff Wall’s photographs, this was a pivotal realization for me as an artist. Walls photographic tableaux work introduced me to photography as a means to interact more decisively with history. I was drawn to Wall’s ability to interact with other artworks, in particular painting.
Aesthetically my work is interested in finding figures in decided moments, the figures relationship to both their environment and the camera are the foundations for aesthetic preferences. The work can come across as formal or still in certain ways, this comes from a very concrete taste for particular compositions and formal qualities.
ES: What is the meaning behind beholder, it feels as if a loose narrative is taking shape through out the piece & seems like it is another chapter in your on going body of work. 
CC: The narrative and cinematic qualities of the work are both deliberate and results of process. When shooting for Beholder I would photograph with the same individuals at a particular location for several days in a row. Working in that way inherently produces narratives throughout the work. There are only about 40 images in the publication, so that narrative becomes broken and fractured. One of the more important decisions when creating the body of work was deciding what would go in the book and what wouldn’t. There are several scenes and environments that we created and photographed that didn’t make it into the book. The final selection of images is a quite concentrated and limited look into the overall scope of photographs produced.

Beholder by Chris Cox

ES: With Spiritual lake, the viewer seemed to be immersed in the water, here we are given sight of water but never quite submerged, do you wish there to be a dialogue between your series, how do you see them all working together? 
CC: The works in Beholder do have ties to past bodies of work, in particular Spiritual Lake. My overall process hasn’t changed much since shooting for Spiritual Lake, and I’m using many of the same models, so the work is going to be tied to one another in that way. Again this is a result of process, but the process is deliberate and is recreated to continue certain themes in the work. Publications or exhibitions function as capstones or introductions for particular ideas in the work, they act as a nice pause and opportunity to expand or refine where necessary.

Beholder by Chris Cox

ES: You used a gallery space to release a book of new images, where does the work go from here? Is the work meant to live beyond the book form? What is the next step for these images, if any?
CC: I view Beholder as a completed artwork in itself, and using Gaspard to exhibit and release the book was a nice opportunity to let it stand alone as its own individual piece. A couple beholder publications were all that was on view in the gallery, the exhibition experience demanded a certain degree of interaction with the work, it seemed to be an appropriate setting to release the project. Although, I am planning on spending the next year continue working on the body of work started with Beholder. I plan to exhibit a series of works from Beholder as well as new works in an exhibition of printed photographs. I will exhibit exhibit this larger body of work in the spring of 2015.
Beholder by Chris Cox
ES: You incorporate design elements often associated with gallery signage, through out the book. Can you talk about image info & the bodies of text within the work & what exactly you wanted the book to accomplish, i.e. just a book, a gallery show, or an object.
CC: The inclusion of the image information in the book was a way to show the photographs as part of a catalogue of images and give a bit of insight into the breadth of the work. The image numbers are referencing the chronological sequence that the images were shot. The poems at the front and back of the book, then disseminated throughout the book are written by Jacob Bullard, he is pictured in some of the works and is a frequent collaborator in my work. Designer Ben Biondo then worked with the various text elements and photographs to design and layout the publication. I rely heavily on the design of my publications, execution when producing a physical object is crucial, therefore design considerations are critical when considering the final experience a viewer will have with the work. The way one experiences printed matter is very different than when one scrolls through a feed on a screen, therefore all aspects of the publication and its presentation were considered when creating Beholder.