Photographer James Florio created the series Homeless in Orlando. Alternating between slides of text and black and white photographs. The series captures the home and life of a homeless couple, Robert and Heather. Robert and Heather live in the woods of Orlando, Florida. The words and images describe the events that led to their home among the urban forests of the über-developed tourist hub.
The series feels much more like a film with its strong and touching narrative. Using a minimal amount of words and elegant photographs, Florio presents Robert and Heather in a way that is surprisingly emotionally engaging. He shows how typically simple tasks such as taking a shower, can become absurdly challenging. Homeless in Orlando provides a rare insight and is especially affecting. The rest of the Robert and Heather’s story unfolds after the jump. You’ll want to see it through to the last image.
Matt Perrin believes in the magic of classic photography. Perrin decidedly does not use Photoshop or manipulate his photographs once the shutter clicks. Rather, he fully utilizes the simple features of his camera and experimental lighting to create his dreamy images. His photographs glow like cosmic abstractions. Perrin is intentionally ambiguous as to the exact nature of his subject matter. Rather, he encourages a more open reading similar to abstract painting. He says of his process:
“ Any object seen, in any photograph, was physically in front of the lens when the shutter opened and closed. It’s the twists and turns that have occurred between those points that have brought you here today.”
Artist Rik Garrett explores physical relationships in his series Symbiosis. By painting directly onto the photograph, Garrett literally fuses two bodies into one. Two writhing bodies seem to become one organism. It’s a nearly a literal interpretation of “two becoming one flesh”.
Garrett says, “Symbiosis is a new series exploring ideas regarding love, relationships, magic, Alchemy and mutually beneficial partnerships in nature.”
While the idea sounds romantic the imagery can appear otherwise. The single masses almost appear to be struggling against itself, perhaps alluding to the complexities of sexuality and relationships.
Annie Marie Musselman’s photographic work has a very unique quality and strategic approach to capturing the soul of an animal. When browsing through the collections on her site, I couldn’t help but feel like I was looking at another human being, not a bird or a fox… Currently, Musselman is working on a project photographing animals in sanctuaries around the world in order to raise awareness around the fragility and beauty of endangered species – animals which if saved, would save countless other species as well.
Photographer Michael Zimmerer‘s series White Horizon captures a Midwest white-out. Zimmerer’s stark images capture a landscape shortly after a snow storm in which the horizon seems to disappear. Even the sun is lost in the sky. The expansive fields of white are interrupted by the dark shapes of buffalo, river, rock, or trees. A nearly abstract quality is lent to the photographs more often seen on the canvas. However, the subject matter – the untouched snow, clear rivers, wild animals – also seems to emphasize the absence of the human hand and its loneliness.
The new work from Australian photographer Jana Maré in a way presents different relationships. Maré’s nude body is found throughout a deteriorating house, interacting with various rooms and structures. The physical relationship expressed in the photos at once recalls the structure’s past incarnation as a home and emphasizes its current dilapidation. At the same time, though, Maré, in using her own body and refusing to use digital manipulation seems to have a nearly uneasy relationship with the camera and viewer – her posing a kind of performance that has been frozen.
The photographic images of artist Ahn Jun unfold at dizzying heights. Ahn captures her self-portraits perched atop ledges and windowsills. The frightening heights don’t act as a gimmick it does in the current Russian fad that may come to mind. Rather, Ahn uses the elevation more as a narrative tool. While clearly referencing suicide, she pushes the story beyond that also. She nearly seems not only to be involved in an inner drama but interacting with the cityscape as a whole – she looks as if to be addressing the city personally.
The photographic work of Tajette O’Halloran is narrative rich. Each image seems stolen from a story in progress. The photographs borrow filmic qualities not only in its storytelling but style lighting and composition. Indeed, O’Halloran had spent time as a location scout for Australia’s film industry. She’s kept her eye for location and sense of drama. The self-portrait series featured here is set in an abandoned house in Barre, Massachusetts.
O’Halloran relates of the experience, “While staying here in this environment I felt compelled to create a photographic story of captivity, abandonment and surrender. I wanted to explore the fragility, torment and eventual freedom of the mind when left alone with yourself and your thoughts.”