In the last week of 2017, we decided to share our top 5 photographers featured on Revolv’s platform this year! We announced each of the talented individuals from the 26th to the 30th of December 2017 on our Instagram account. Read more about our top 5 artists and their creative practices.
Andreea Teleaga is a Romanian born and UK based photographer, currently studying MFA Fine Arts (Media) at the Slade School of Fine Arts in London. In her practice, she uses analogue photography, but often creates photo-montages and collages to explore the relationship between her subjects and materiality, space and experience. Reflecting on the historical past and the present socio-political context in relation to her home country, Andreea tends to experiment with photography and tries to break the boundaries of the medium.
The photographs above are from the hand-made, self-published book Communist Nightmare in Romania (2014) which consists of paper collages next to which there are quotes from people who experienced Communism in Romania at different levels. The results are unexpectedly beautiful and give birth to new approaches to the medium. The collages are created with photographs mainly from her own photography archive, but also from found images and leaflets. Exploring the relationship between history, memory and space, the main focus in Andreea’s current practice is the destruction of the photographic material and the power of the controlled accident in image making.
In 2017 Lynda Laird was selected for the Planche (s) contact Festival artist residency in Deauville, as well as nominated for the Magnum Graduate Photographers Award. In her practice, Lynda works primarily with landscape photography, exploring the idea that memory is stored in a place and that history could be imprinted on to buildings, spaces and landscapes. Working with video, photography, sound, archives, as well as collecting objects and testimony from the spaces she visits, the artist is studying the materiality of specific locations and bringing back the traces of history left in them.
In her most recent series Dans les Noir, Lynda worked with the diary of a lady called Odette Brefort, who lived in Deauville throughout World War II under German Occupation. She used the diary entry on the day of the D-day landings as the sound piece and accompanied it with video shot in the sea on each of the 5 landing beaches between 05.30 and 7.30am (the time of the landings). She photographed the German bunkers along the Normandy coast – from Utah beach to Deauville, an area of Hitler’s Atlantic wall, both with traditional and infrared film. Infrared film was a technology introduced by the military during WWII to detect camouflage. The artist found one of the bunkers close to Utah beach that the German soldiers painted to camouflage the building, which was a common practice done along this coast. The infrared film works by picking up a visual spectrum invisible to the naked eye. It shows the life in plants as red and dead plants or material as black.
Dorothée Nowak is a French photographer with Polish origin, currently based in Montreal, Quebec. During 2017 she showed her work in four exhibitions in Montreal and one in Saint-Laurent. Through the use of photography, Dorothée questions the subject of displacement and migration. In her series Dom Polski, she has documented the everyday life of a community of people who emigrated from Poland to Montreal. Intruding into the lives of Polish Montrealers, Dorothée attempts to grasp the attachment people have to their native land and their cultural identity. There seems to be a constant back-and-forth between a strong sense of belonging to the country of origin, possibly even intensified by distance, and an adaptation to the new living space. Entering the homes of Polish migrants, Dorothée Nowak is admitted into their private lives, photographing the objects and furniture in their homes. Consisting of elements that contribute to a faithful and sensitive documentation of this diaspora, the environment in which people live attests to how they relate to memory and recollection.
Veronica Viacava is a recent graduate of Middlesex University, and in 2017 her work was published in the British Journal of Photography. Veronica is interested in the incongruence between photography and memory and the importance of the materiality of photographs in the digital era. In her newest ongoing work Virāgō, she is focusing on the infinite facets of sexual desire, the separation of love and sex and the discomfort that derives from it. Starting from the impossibility of reaching a status of tranquillity due to the conflictual nature of individuals, Veronica examines her own sexuality and how its duality polarises this human condition.
Danielle Madeley is a Falmouth University graduate, currently working in Staffordshire. During 2017 she has been a part of four group exhibitions in Falmouth and London. The photographs of Danielle Madeley have captured the life in the suburbs of England, showing mundane scenes along with the landscapes of the everyday and grasps of intimate moments. Danielle Madeley explained her process of working: “I spend a large amount of time interviewing members of my community, gathering archival material and reading as much as I can. After this, I tend to shoot solidly, develop my film and edit the results.” Through her work, she aims to give voices to the ordinary people, who most of the times are not heard or noticed. Since young age, photography has helped her become a part of the community, where she grew up.
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