Time has flown by faster than we thought and we are very excited to present you the second Issue of The Garlic Bread Magazine. The artists in this issue provide an interesting insight into fine art photography. Their images are a great example of an investigation between the imagined, the staged and the real. Thanks to you our project is spreading around the web, drawing the attention and feedbacks from many, including galleries and established artists. Be ready to be a part of exciting collaborations.. We hope that you will be inspired by the following works and, provide us with new materials and help the artists and us by spreading The Garlic Bread further!
Sasha & Yoav www.thegarlicbread.com
ORLI PEREL NIR www.orlipn.com
SHUNIT GOLDBERG www.shunit.net
ORLI PEREL NIR
Fair Svetlana was pictured in an old metal factory, that seems to belong to a far and strange place in which time stood still. While touching human aspects â€“ manhood, dreams, disappointments, normality vs. abnormality and what lies between them, the series is traveling between contrast edges as darkness and light, private and public, voyeurism and documentary. The subjects are staged like puppets on a theater stage â€“ directly, individually without any glamour, becoming a part of the view, merging into it. Fair Svetlana was exhibited internationally since 2010 and was awarded the first prize on the 7th Warsaw festival of Art photography in Poland 2011.
Night Vision This project is a B/W series assembled from nocturnal wanderings in different locations, creating my own private ‘night vision’ voyage. The series mainly focuses on vacant spaces near residential areas, where the night b/w photography offers a mystifying setting to the daily environment and makes it an object of examination and observation. Within these wanderings I’m drawn to the glimpse that exists between what is present and what may exist, but its physical presence is negated.
Psalmodie was born into a sonorous background. The melody of psalms. Each photograph is a response to a vibrant oration â€“ a hushed thrum of a single string instrument, a stifled breath, a deep voice - that remains unheard by the viewer. The photographs also evoke the darkness, they call out to that which is natural, organic, and primal within us. Yet there is also light streaming into the night â€“ suggesting, perhaps, that darkness seen is darkness acknowledged. Darkness accepted. Darkness embraced. I created these images to reflect the inner dimensions of the memory relevant to the body: what lies beneath the skin, and how, ultimately, we are all connected through our internal monologues of light and dark. This photographic series loosens the tongue of a narrative longing to be told: a tale of a fantastical night where desire blends seamlessly with both memory and illusion. A tale we all can relate to.
“Fergana Glory” is a Dutch expression that means glory that has fallen from its grandeur, wealth and beauty that have been neglected and left to decay like tombstones that pay tribute to things that are no longer. My work is the result of seeking neglected and deserted places and objects. The images are frozen views that signify for me “Fergana Glory”. The images take place in city outskirts, settlements, peripheries, remnants. The act of photographing creates a presence and physical readiness in front of the place, in front of the object. I am attempting to return the places and objects to their glory. The photographs are a testament to the failure of this attempt. The objects and places appear to have had their moment of glory appear to have had momentary beauty. But all collapses, failing to rise up to the experience of the sublime. The images I photograph are intermediate between nature and agriculture, between that that was created naturally and that that was created artificially, swimming pools and stocked fish ponds, places that have been abandoned by humans and left for nature to run its course.
Environments of aesthetics
Collective project “Environments of aesthetics” is a doco-photographic glimpse into frozen brief moments, chosen within a fleeting visuality: home experiments in creating domesticated environments, based on active metal vegetation and chemicals growth. Inventing these alternative sceneries relies on a background research, invisible to the viewer, in which the artist explores the most fundamental behavior of the inanimate matter over the timeline, guides it to act visually as if it was a growing plant, in order to create dynamic aesthetics. Once activated, these aesthetics are passively observed while self formation process naturally occurs. Dialoguing with the brisk matter, changes day by day, destabilizes the artist’s exclusive control over the creation, summoning unpredictable possibilities. Through exploration of trial and error the artist has mastered a diverse pallet of growth species, each of whom functions as an independent ecological environment, acts by its own typical logic system, timetable, and appearance. Information hidden from bare eyes is magnified & revealed using macro photography, and digital stitching of dozens camera frames into high resolution discovery images. More images from this project on Uri’s Flickr Gallery
glass, silicone, chemicals 26cm x 26cm 2011
The garlic bread wants to grow and spread, which is mainly depends on you! You are invited to submit your works, after reading the instructions on our web site.
The garlic bread is baked for you by: Sasha Tamarin & Yoav Peled
www.thegarlicbread.com firstname.lastname@example.org All rights for the images are protected and reserved to the artists. No image in this issue can be printed or used without the artistâ€™s permission.
Front Cover by Orli Perel Nir Back Cover by Uri Shapira
Published on Apr 3, 2012
Published on Apr 3, 2012
the garlic bread is an online magazine dedicated to highlighting young and ambitious artists from Israel and abroad, who use photography as...