Paper Abstract Photography

Between the Trees 12, 2014 - Misty and Fog Natural Landscape in Ancient Woodland by Ellie Davies Between the Trees 12 is a stunning Digital C-Type Print on Fuji Maxima Matte paper, ...

Summer Interlude II (Deconstructivism) - 2020 - about the narrative potential of images. 20x20cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the Polaroid, Art...

CREATURE II by Christian Stoll from a series of still life photographs capturing fantastical creatures made of found objects and organic materials 28 x 40 inches (71 x 102cm) editi...

Wallscape VI (Il Famoso) by Frank Schott from a series of photographic observances capturing urban textures and palimpsest color palettes in Italy 48 x 60 inches / 122cm x 152cm edi...

Stefanie created the art for both main actors Naomi Watts and Ryan Gosling in the movie 'Stay' directed by Marc Forster. She also created the art for several dream sequences and the ...

Living in a Dream (Till Death do us Part) - 2005 20x20cm, Edition of 10, Archival C-Print print, based on the Polaroid. Certificate and Signature label, artist Inventory No. 9781. Not mounted. on offer is a piece from the movie "Till Death do us Part" Stefanie Schneider’s Till Death Do Us Part or “There is Only the Desert for You.” BY DREW HAMMOND Stefanie Schneider’s Til Death to Us Part is a love narrative that comprises three elements: 1. A montage of still images shot and elaborated by means of her signature technique of using Polaroid formats with outdated and degraded film stock in natural light, with the resulting im ages rephotographed (by other means) enlarged and printed in such a way as to generate further distortions of the image. 2. Dated Super 8 film footage without a sound track and developed by the artist. 3. Recorded off-screen narration of texts written by the actors or photographic subjects, and selected by the artist. At the outset, this method presupposes a tension between still and moving image; between the conventions about the juxtaposition of such images in a moving image presentation; and, and a further tension between the work’s juxtaposition of sound and image, and the conventional relationship between sound and image that occurs in the majority of films. But Till Death Do Us Part also conduces to an implied synthesis of still and moving image by the manner in which the artist edits or cuts the work. First, she imposes a rigorous criterion of selection, whether to render a section as a still or moving image. The predominance of still images is neither an arbitrary residue of her background as a still photographer—in fact she has years of background in film projects; nor is it a capricious reaction against moving picture convention that demands more moving images than stills. Instead, the number of still images has a direct thematic relation to the fabric of the love story in the following sense. Stills, by definition, have a very different relationship to time than do moving images. The unedited moving shot occurs in real time, and the edited moving shot, despite its artificial rendering of time, all too 2009often affords the viewer an even greater illusion of experiencing reality as it unfolds. It is self-evident that moving images overtly mimic the temporal dynamic of reality. Frozen in time—at least overtly—still photographic images pose a radical tension with real time. This tension is all the more heightened by their “real” content, by the recording aspect of their constitution. But precisely because they seem to suspend time, they more naturally evoke a sense of the past and of its inherent nostalgia. In this way, they are often more readily evocative of other states of experience of the real, if we properly include in the real our own experience of the past through memory, and its inherent emotions. This attribute of stills is the real criterion of their selection in Til Death Do Us Part where consistently, the artist associates them with desire, dream, memory, passion, and the ensemble of mental states that accompany a love relationship in its nascent, mature, and declining aspects. A SYNTHESIS OF MOVING AND STILL IMAGES BOTH FORMAL AND CONCEPTUAL It is noteworthy that, after a transition from a still image to a moving image, as soon as the viewer expects the movement to continue, there is a “logical” cut that we expect to result in another moving image, not only because of its mise en scène, but also because of its implicit respect of traditional rules of film editing, its planarity, its sight line, its treatment of 3D space—all these lead us to expect that the successive shot, as it is revealed, is bound to be another moving image. But contrary to our expectation, and in delayed reaction, we are startled to find that it is another still image. One effect of this technique is to reinforce the tension between still and moving image by means of surprise. But in another sense, the technique reminds us that, in film, the moving image is also a succession of stills that only generate an illusion of movement. Although it is a fact that here the artist employs Super 8 footage, in principle, even were the moving images shot with video, the fact would remain since video images are all reducible to a series of discrete still images no matter how “seamless” the transitions between them. Yet a third effect of the technique has to do with its temporal implication. Often art aspires to conflate or otherwise distort time. Here, instead, the juxtaposition poses a tension between two times: the “real time” of the moving image that is by definition associated with reality in its temporal aspect; and the “frozen time” of the still image associated with an altered sense of time in memory and fantasy of the object of desire—not to mention the unreal time of the sense of the monopolization of the gaze conventionally attributed to the photographic medium, but which here is associated as much with the yearning narrator as it is with the viewer. In this way, the work establishes and juxtaposes two times for two levels of consciousness, both for the narrator of the story and, implicitly, for the viewer: A) the immediate experience of reality, and B) the background of reflective effects of reality, such as dream, memory, fantasy, and their inherent compounding of past and present emotions. In addition, the piece advances in the direction of a Gesammtkunstwerk, but in a way that reconsiders this synaesthesia as a unified complex of genres—not only because it uses new media that did not exist when the idea was first enunciated in Wagner’s time, but also because it comprises elements that are not entirely of one artist’s making, but which are subsumed by the work overall. The totality remains the vision of one artist. In this sense, Till Death Do Us Part reveals a further tension between the central intelligence of the artist and the products of other individual participants. This tension is compounded to the degree that the characters’ attributes and narrated statements are part fiction and part reality, part themselves, and part their characters. But Stefanie Schneider is the one who assembles, organizes, and selects them all. THE RELATIONSHIP BETWEEN THIS IDEA (above) AND PHOTOGRAPHY This selective aspect of the work is an expansion of idea of the act of photography in which the artistic photographer selects that which is already there, and then, by distortion, definition or delimitation, compositional and lighting emphasis, and by a host of other techniques, subsumes that which is already there to transform it into an image of the artist’s contrivance, one that is no less of the artist’s making than a work in any other medium, but which is distinct from many traditional media (such as painting) in that it retains an evocation of the tension between what is already there and what is of the artist’s making. Should it fail to achieve this, it remains, to that degree, mere illustration to which aesthetic technique has been applied with greater or lesser skill. The way Til Death Do Us Part expands this basic principle of the photographic act, is to apply it to further existing elements, and, similarly, to transform them. These additional existing elements include written or improvised pieces narrated by their authors in a way that shifts between their own identities and the identities of fictional characters. Such characters derive partially from their own identities by making use of real or imagined memories, dreams, fears of the future, genuine impressions, and emotional responses to unexpected or even banal events. There is also music, with voice and instrumental accompaniment. The music slips between integration with the narrative voices and disjunction, between consistency and tension. At times it would direct the mood, and at other times it would disrupt. Despite that much of this material is made by others, it becomes, like the reality that is the raw material of an art photo, subsumed and transformed by the overall aesthetic act of the manner of its selection, distortion, organization, duration, and emotional effect. * * * David Lean was fond of saying that a love story is most effective in a squalid visual environment. In Til Death Do Us Part, the squalor of the American desert...

WAVE II by Christian Stoll large scale abstract photograph of soothing mesmerizing fluid liquid waterscape 58 x 58 inches (147 x 147cm) edition of 7 signed 48 x 48 inches (122 ...

ATARI Imperatore by Frank Schott from a series of photographic observances capturing urban textures and color palettes 30 x 46.25 inches / 76cm x 118cm edition of 25 signed 48 x ...

A beautiful and sophisticated underwater photograph of a young naked woman swimming in the pool. This is a monochrome photograph close to black and white with reach aquatic tint. T...

Wallscape II by Frank Schott from a series of photographic observances capturing urban textures and color palettes 48 x 60 inches / 122cm x 152cm edition of 7 signed 32 x 40 inches...

Unique chromoskedasic monoprint on photographic paper 22 x 18 inches framed This contemporary, abstract style chromoskedasic monoprint was created by experimental photographer Birgi...

Stars 15, 2015 - Stars and Trees in Ancient English Woodland Forest Landscape by Ellie Davies Stars 15 by Ellie Davies is a stunning Digital C-Type Print on Fuji Maxima Matte paper,...

Stars 10, 2015 - Stars and Trees in Ancient English Woodland Forest Landscape by Ellie Davies Stars 10 by Ellie Davies is a stunning Digital C-Type Print on Fuji Maxima Matte paper,...

Sunset Over Ocean is a unique cyanotype monotype on watercolor paper, blending the timeless beauty of ocean horizons with the clean, geometric serenity inspired by Desert Modernism. ...

"TV 1" is an atmospheric C-Type print by Samuel Hicks. It is available in this size of 16" x 20" in a Limited Edition of 25. The pale blue glow of the analogue television stands o...

Abstract digital print on black/white photo paper 25.5 x 21.5 inches in custom black stained wood frame with black 8 ply mat and AR non glare glass Pairs well with Ref: LU2272395053 These energetic prints are digital copies of original handmade monoprints by photographer Birgit Blyth. Without the use of a camera, the artist produced the original chromoskedasic image by painting with the photographic chemicals directly onto black and white photo pager and exposing it to light. The rich black, faded gold, and crisp white tones are determined by the different chemicals used and the amount of time they are exposed to light. In this piece, Blyth painted gestural, intersecting lines to create a grid-like pattern that falls back in space. About the artist and work: Birgit Blyth is one of our most innovative and prolific photographers who works in a darkroom yet uses no camera! Blyth has been experimenting with a technique known as Chromoskedasic painting since the early ‘90s and variations on this concept have been shown at the gallery for the last 20 years. The unusual process involves the use of silver particles in black and white photographic paper to scatter light at different wavelengths when exposed. A chemist of sorts, Blyth demonstrates a thorough knowledge of how the various photographic chemicals will react when applied to paper and exposed. Each work is unique with palettes that resonate brilliant tonalities of brown, green, black, and purple. Using this technique, Blyth creates abstract crosshatching grids and most recently has developed a more gestural series of 20 x 16 inch chromoskedasic paintings that explores the ethereal qualities made possible by the unconventional material. Birgit Blyth succeeds at keeping her work fresh and cutting-edge using analog methods that are being quickly replaced elsewhere with digital technology. Artist Resume: Born: Kousted, Denmark Resident in U.S.A. since 1963 Education: Denmark and U.S.A. Project, Inc., Cambridge MA (Photography) DeCordova Museum School, Lincoln MA (Printmaking) Maine Photography...

Underwater nude photograph of a young woman processed in an abstract black and white symmetrical composition. Original gallery quality archival pigment print on archival paper sig...

An underwater photograph of a beautiful topless model wrapped in red tulle. Original gallery quality archival pigment print signed by the artist. Limited edition of 24. Print #2 Pa...

Horizonte (Journey to the Center of the Earth) - 2019 Edition of 10. Photograph printed in Canson Barita Fiber Rag 340gr, based on a reclaimed Fuji Instant Film Negative (not mount...

Alyson Belcher's Final Season is a photographic meditation on the fragility and quiet resilience of life, shaped by personal experiences of loss and the witnessing of loved ones in d...

This crystalline underwater nude photograph from the series "Four Seasons" captures the quiet of winter with cool blues ranging from icy cyan to deep midnight, contrasted against pri...

Multidisciplinary visual artist Kim Frohsin created the arcane series, Reliquaries, from a variety of media—acrylic paint, glazes, ink, collage, pencils, and dry pigment—built upon pinhole photographs...

Marie Craig’s “Rising 3” is a 10 x 13 inch color photograph, a part of the artist’s “Natural Consequences” series. Rich blues dominate this photo, which is surrounded by a white matt...

Dreamscape (Wastelands) - 2003 128x125cm, Edition 4/5. Analog C-Print, hand-printed by the artist on Fuji Crystal Archive Paper, based on the original Polaroid. Artist inventory ...

This floral photography has a dramatic sense of composition which recalls the careful arrangements of Dutch and Flemish still life paintings from the 17-18 century. Belgian photog...

Gerbera (2019) Edition of 5 plus 2 Artist Proofs. Photograph printed in Canson Barita Fiber Rag 340gr, based on a reclaimed Fuji Instant Film Negative (not mounted). Signed on back...

FLORA & FAUNA SERIES, c.1998, Fuji crystal archive paper. Hand-signed on verso. Photographer Jeffrey Rothstein focuses on different elements within Nature for his subject matter, ra...

By toning cyanotypes, using chemicals that turn the deep blue images to yellow, Craig's photographs fade and begin to disappear. Craig is curious about what happens when she stops the process at various stages, and when she lets the images ‘evaporate’ completely. Nothing lasts forever. Ferns are some of the oldest plants on earth. Ferns embody resilience. Many forms have come and gone since they first appeared on the planet; 10,000 species exist today, in tropical, temperate and arctic regions. White mat, framed behind glass in white wood frame, 14 x 17 inches Marie Craig’s photography considers objects that were once imbued with life but have since been abandoned. Juncture, Craig’s latest series, alludes to a turning point, the moment where a choice made profoundly alters the trajectory of what follows, whether evident at the time or not. She uses cyanotype, because in this early photographic process choice and chance factor equally into the outcome of each piece. Craig’s layered photographs...

Dubawi, 'Stripped’, 2001 by John Reardon Edition of 15 Silver Gelatin Print, Mounted on Aluminium, Custom framed, UV protective Museum AR Glass This piec...

By toning cyanotypes, using chemicals that turn the deep blue images to yellow, Craig's photographs fade and begin to disappear. Craig is curious about what happens when she stops the process at various stages, and when she lets the images ‘evaporate’ completely. Nothing lasts forever. Blue Gum trees, native to Australia, have survived for millennia by adapting and thriving in a climate where wildfires are common. Now invasive in many parts of the world, this 'gasoline tree' is a dangerous fire hazard, especially in the face of climate change, which is expected to make wildfires more common. White mat, framed behind glass in white wood frame, 14 x 17 inches Marie Craig’s photography considers objects that were once imbued with life but have since been abandoned. Juncture, Craig’s latest series, alludes to a turning point, the moment where a choice made profoundly alters the trajectory of what follows, whether evident at the time or not. She uses cyanotype, because in this early photographic process choice and chance factor equally into the outcome of each piece. Craig’s layered photographs...

Blowin' in the Wind (Till Death do us Part) - 2025 48x47cm, Edition of 10, plus 2 Artist Proofs, Archival C-Print, based on the original Polaroid. Certificate and Signature label....

This cyanotype monotype features a constellation of overlapping circular forms that seem to hover like celestial bodies or drifting clouds. The soft, mottled texture within each whit...

This intense underwater nude photograph from the series "Four Seasons" captures the peak of summer with deepened emerald greens and golden amber tones that suggest heat and maturity....

FLORA & FAUNA SERIES, c.1998, Fuji crystal archive paper. Unsigned, Photographer Jeffrey Rothstein focuses on different elements within Nature for his subject matter, ranging from f...

"Unforgotten Series No 6" is an archival pigment print on fine art paper, mounted on birch panel and resin coated. This is a wonderful colorful abstract artwork with text and pink ba...

"UNTITLED (Horizon)", 2018, is a color photograph by Sophia Rauch, one of a series originating as digital scans with the artist manipulating materials dir...

Sunset with Reflection is a unique cyanotype monotype on watercolor paper, blending the timeless beauty of ocean horizos with the clean, geometric serenity inspired by Desert Moderni...

This photograph is printed on Japanese Paper. The price is for an unframed photograph. 11" X 14" Edition of 25. The Robin Rice Gallery is pleased to announce, 25 Years of Polaroi...

This photograph is printed on Japanese Paper. The price is for an unframed photograph. 11" X 14" Edition of 25. The Robin Rice Gallery is pleased to announce, 25 Years of Polaroi...

"Paradox" is a wildly colorful, abstract painting layered on top of a black and white photographic print. This is a wonderful bold abstract urban New York inspired scene. The piece ...

This extra large montage of photographs is mounted onto aluminum from Ken Gonzales-Day's dysmorphologies series. Photo paper mounted to aluminum. Ken Gonzales-Day's interdisciplinar...

large scale abstract photograph of muted color monochromatic water surface and horizon SEASCAPE IV by Frank Schott an homage to Mark Rothko 70 x 56 inche...

Deep Mirroring Forest 015 is a limited-edition photograph by German contemporary artist Bernhard Lang. This photograph is a limited edition of 5 copies, it is sold framed. Dimensio...

“Ink Stories”, which was introduced at Nyari’s very first solo gallery exhibit, consists of large-scale nude photographs that explore the concept of self-identity and female empowerm...

King's Best, ‘Neck’, 2001 by John Reardon Edition of 7 Silver Gelatin Print, Mounted on Aluminium, Custom framed, UV protective Museum AR Glass This piece is part of : (after) Whist...

Blowin' in the Wind (Till Death do us Part) - 2025 48x47cm, Edition of 10, plus 2 Artist Proofs, Archival C-Print, based on the original Polaroid. Certificate and Signature label....

from a series of works capturing conceptual signs in iconic landscapes, captured with a large format camera to allow epic scale print sizes with incredible image details CLOUD STUD...

An homage to Caspar David Friedrich, towering thunder clouds over the Pacific Ocean, from a series of dramatic cloud atlas observations and abstract skyscapes above the winter sea, c...

Large scale original art photography from a series of dramatic cloud atlas and abstract sky scapes observations above the Pacific Ocean Cloud Study VII by Frank Schott 40 x 32 inc...

An homage to Caspar David Friedrich, towering thunder clouds over the Pacific Ocean, from a series of dramatic cloud atlas observations and abstract skyscapes above the winter sea, c...

An homage to Caspar David Friedrich, towering thunder clouds over the Pacific Ocean, from a series of dramatic cloud atlas observations and abstract skyscapes above the winter sea, c...

Planes VII - 2008 50x50cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Signature label and Certificate. Artist Inventory #4650. Not mounted. ...

32"x48" edition of 3 signed by the artist (fine art color photograph) This aerial landscape photograph depicts the sediments and water interacting at a tailing dam. The bright field ...

In the series 'She Disappeared into Complete Silence' (2014) Mona Kuhn takes a new direction into abstraction. She turns to a highly austere and restrained reductionist geometry and ...

40"x50" C print photograph mounted and framed in high quality, hand crafted shadowbox frame. The final framed dimensions are: 52.5"x32.5"x2.25" C Print Photograph edition of 5 signe...

Signed large scale original photograph of the Mediterranean marble quarries in Carrara, Italy, iconic material source of classic Italian art and architecture, captured with a large format camera to allow epic scale print sizes with incredible image details Carrara I...

Large scale original art photography from a series of dramatic cloud atlas and abstract sky scapes observations above the Pacific Ocean Cloud Study VII by Frank Schott 75 x 58 inc...

Yellow Flower (The Last Picture Show) - 2005 128x125cm, Edition of 5, analog C-Print, based on the Polaroid, hand-printed by the artist on Fuji Crystal Archive Paper. (matte) Ar...

Forgotten Land (California Badlands) - 2010 24x20cm, Edition of 10, digital C-Print, based on a Polaroid. Certificate and Signature label. Artist Inventory No. 10899. Not mounted....

"Essence of Life" is a part of Christopher Kennedy's "Trees Revered" series. Please note that the image without the frame is a better representation of the actual image. "This parti...