L A Noble Gallery presents: IWD!
To celebrate International Women's Day LANG is showcasing the strength, wisdom, and uniqueness of women in an online exhibition IWD! LANG has a worldwide reputation for representing, championing and nurturing female talent through its exhibitions and educational activities.
Supporting emerging and established talent, we also provide an inclusive, feminist, empowered approach to representations of women in photography and in the photographic work we display. LANG believes that positive depictions of women are essential to avoid the repetition of misogynist norms in the industry, thus fulfilling a more engaging dialogue and dynamic aesthetic.
Yvonne De Rosa
Yvonne De Rosa's Wish List is a continuing project which began in 2008. Responding to personal memories using everyday life as inspiration this series depicts quiet moments of beauty with the occasional placement of objects, cyphers and messages as if slowly drifting in and out of our subconscious.
Forms, speaks of the human condition and our increasing alienation from our own bodies. Rosser approaches the body as a sculptural being, transforming and reducing flesh into malleable entities upon which to gaze. She pushes away from negative concepts of the 'perfect body' and creates an alien aesthetic that is sometimes reminiscent of cadavers. Rosser challenges the way in which we percieve the human body, with all its contours and imperfections on display. Gender identity is fluid here, with the omission of sex organs and heads Rossser's Forms reveal themselves slowly and anonymously, often confusing the eye at first glance. All bodies of all sexes, races, ages, abilities and genders are valid. Placed within paired back interiors they reflect the containment of the physical and psychological spaces we all live in. Omitting digital enhancement we are confronted by a 'realness' that is strangley surreal.
Houseproud resident Lin is depicted here in Robert Clayton's classic series Estate. Taken on the Lion Farm Estate in 1990/1991 in the West Midlands, Clayton was able to photograph people in their own homes, positively rendering life on the estate and its inhabitants through a honest emapthic lens. He has recently revisited the site which although reduced in size to one block, still remains a vital part of the community. Debunking preconcieved ideas of life in neighbourhoods such as this, Clayton allows us to see the warmth and humanity so often present wherever people live regardless of where they are or their percieved social staus or class.
Chris Steele-Perkins celebrated series The Teds explores a subcultre whose style and music still influence today. As hgis first monograph published in 1979 The Teds coincided with his membership at Magnum Photos. This work now stands as a seminal series documenting the life and play of this distinctive subculture, resulting in classic imagery firmly placed in the photographic canon. Human connection is what Chris does best, depicting relationships and lifestyles with a non-judgemental eye. He continues to do so, always reaching for another human subject he can share with the world and inspire us to be open to ways of life both the same and different from our own.
The Red Road Project by Carlotta Cardana deals with belonging, identity and community, among modern Native Americans. Although cultural practices and language have almost vanished by the various attempts at “assimilation”, the tribal peoples suffer a sort of forced segregation at the very bottom of American society: on every indicator, from the 88% unemployment to the worlds second lowest life expectancy, the reservations stand as Third World islands in the biggest economy on Earth. Her work, however, departs from the gritty depiction of these issues by portraying Native Americansin a positive light and exploring how they rediscover and use pride as a tool for survival and advancement. She highlights inspiring stories of confident women and men rediscovering and using pride as a tool for empowerment.
Moor Visible explores the multilayered industrial and archaeological heritage of Dartmoor. This moorland landscape reveals only so much as your own understanding allows, and so much of the history of the moor is still visible, if you know what you are looking at. Gradually as Baker explores this land, she reveals more in the images. She states, 'I think of both this landscape and my images as a palimpsest, something reused or altered but still bearing visible traces of earlier forms. These images explore the experience of specific locations to convey a sense of place and a perception of ‘how the landscape feels’ revealing my particular version of its past and present'.
This work involves the use of layers and montage, and the sense of place and recognition of locale is important. However there is also an element of fiction, a freedom to apply artistic license and perception, which effect how she represents the landscape.
Brittain Bright’s photographs are deeply rooted in the act of reading and the memory of literature. She sees the photograph as a way to enter, and participate in, a work of fiction. By transforming the viewer into a reader, they can enter the narrative space of the image. Mystery novels and notions of suspense play a crucial role presenting a range of possibilities before its solution. Her photographs are a moment from which stories can diverge, allowing many possible interpretations. Her sense of humour is ever present in this series Opening Lines especailly. Bright's understanding of her model Jesse brings forth comedic, dramatic and intense imagery throughout.
German photographer Herb Schmitz created dynamic, opulent and inventive imagery in the 1970's that still strikes a chord today. His fashion and beauty photographs with a twist present a particularly inspired period in the early seventies using models of his rather than an agency or clients choosing. He went against the grain and therefore found a path to artistic freedom within a usually restrictive genre of photograhy. In bending the rules Schmitz's work feels as fresh today as the day he clicked the shutter.
Capturing the wonder of everyday life, Mishca Haller’s reportage style gives his work immediacy with rich vibrant colour that transforms life into something much less than ordinary, frequently displayed in an ongoing series named Seen. His dynamic stlye and quirky angles open up his imgery to deliver more than the sum of their parts. A moving narrative is commonplace for an artitst whom himself has lived and worked in many parts of the world. As a result his eye is open to all ways and shapes of life. In Seen he chooses to focus on the upbeat and joyous moments of his subjects lives, with a witty undertone throughout.
With his roots in street photography, autodidact Swedish photographer Christian Nilson’s work now takes the form of imagery through short and long term documentary projects. Following a move to Switzerland in 2006 he challenges his natural introverted character through the camera. His uncompromising style and openness allow his audience to enjoy and celebrate his chosen subjects; using flash photography his pictures reveal much ‘because I want the viewer to see everything, no hiding, no guessing.’
Taken from Christian's new series 'Danceband' Nilson's portraits are direct and fresh. The title of the series refers to a popular music style which surfaced around 1970 in Sweden, whereby 'Dansbandmusik' is played by a 'Dansband' (Swedish term) or 'Danseband' (Norwegian and Danish term). Inspired predominantly by jazz, swing, sclager, rock and country music it is danced in pairs. His sitters are part of a large movement attending dances at indoor venues and often on cruiseships, with their own sense of style reflecting their love of the music and the community it formed.
In her series No one could save me but you by Zaklina Anderson explores the displacement and memory of war, portraying a sense of loss and mourning for a space and time now past. We are identified by the place we grew up in. In depicting the disconcerting lonely feeling when such a place is erased from a map this series softly investigates the deep trauma beneath the surface. Each image tells a story within a story using a layered aesthetic to reflect different aspects of everyday life. Her gentle imagery belies a violence which has passed but lingers in the collective memory of many. Through her layered visual anthropolgy she causes the drifting of our vision deep into the image, then back to the surface using a distinctive rhythmic compositional style.
Exploring beauty through the device of architecture, Sandra Jordan emotes feelings of inadequecy under the pressure of the modern beauty aesthetic. Her unconventional approach away from the figurative explorations of beauty, Jordan casts her eye instead towards Brutalist and Modernist architecture. These buildings represent a certain kind of beauty which has a specail attraction to her. In reaching beyond the accepted standardised prettification of the 'surface' namely through digital enhancement seen in womens magazines Jordan concerns herself with what lies beneath. These strong proud structures hold a deep fascination both conceptually and physically to Jordan, who makes us think twice about what beauty is and how we need to look beyond the obvious to reveal the miraculous.
Swedish artist Kajsa Gullberg uses fabric to transform the physical appearance of her subjects to explore womanhood in its multitude of forms. In layering and positioning many textures, thicknesses, colours, patterns and structures of fabric she creates haunting photographic cameos. Her resistance to traditional styles of portraiture have developed into an extraordinary array of emotive imagery. By obscuring the face her sitters are both revealing universal experiences of womanhood whilst retaining their uniqueness through Gullberg's lens.
Lisa Holden was originally trained as a painter and later went on to experiment in performance, audio sculpture and video. he realized she was always looking for angles, always trying to find her own story, she decided it was more honest to focus the camera on herself. Holden feels that combining the real and the artificial can convey truths in a way that unvarnished facts cannot. Much of her imagery actually combines two sitters, again underlining the fact that the work is concerned with universal notions of the self and identity. One of the main themes in Holden’s images is identity. Growing up in the North of England as an adopted child, she always felt out of place. Holden often describes herself as a square peg in a round hole – not just within her family, but within the broader context of society.
Robert D. Phillips
Since taking his first photograph by accident when playing with his father’s Olympus Trip aged 7, Robert D. Phillips’ fate was sealed. In his still life with a card of an Ingres painting titled The Turkish Bath (1852-1859, modified in 1862) that seems strangely at home in its contemporary setting Phillips revers the female form through the eyes of another. Minus the heavy gold frame of the original housed at the Louvre in Paris, his image shows a deep appreciation upon the grand oil painting reduced in size and status to through a gentle observation in a bright room. His talent for the quiet detail of the quotidian of life reveal the exceptional where we least expect it.
Using models and locations which are close to her, Norwegian artitst Helén Petersen's aesthetic is dreamlike and ethereal. Each image blends the surrounding landscape and interiors with personal objects and subjects.This includes her own four children whose ease in front of the camera can sometimes feel as if they were oblivious to its presence. The worlds within ones mind as well as the world in which we inhabit are fused together to tender effect. Each silver gelatin photograph is painstakingly hand printed to fully depict her exquisite attention to detail.
Concerned with stories and personal histories, Lottie Davies work weaves memories, life-stories and beliefs in the visual tales and myths we use to structure our lives and turns them into epic visual narratives. Taking inspiration from cinema, modern and classical painting, cinema and theatre as well as the imaginary worlds of literature her work has a power all of its own Through interpreting her own and others Memories and Nightmares Davies has recreated scenes with great dexterity to encompass how it felt despite changing the location or even the era in which the narrative is set. Children are often present with confident depictions of women especailly.