Sam Johnson is a young Australian photographer who finds beauty in the ordinary. His portfolio is an assemblage of visual memories, a rich archive of living and silent everyday atmospheres.
“For a long time I have been a firm believer in making photographs within the familiarity of your own world, seeking beauty within your common surroundings and not longing for something more: An idea which is creatively liberating yet generally grappled with by the majority. In my eyes, the ability to create something from a perceived nothing is a skill employed by the most illustrious photographers and one that I am continually trying to achieve.”
Inspired by the colourful and surreal work of Kanghee Kim, Sam Johnson photographs the familiarity of his world, attempts to interpret his surroundings and creates an open narrative. His photographs deal with themes of escape, fantasy and dream. They are magical and mysterious images.
Jaume Llacer is a Spanish photographer based in Belgium, a young self-taught artist who tries to evoke mixed emotions by combining portraits and landscapes. Although his background is in the sciences, Jaume has also come to appreciate the world of photography and, through his creativity and resourcefulness, has learned the right techniques for working with light, colour and composition.
His images show dreamysettings, suspended in time, magical and isolated. Jaume Llacer doesn’t need to travel far to take the perfect photo, he just needs to spend time outdoors and in nature to find the best glimpses. With portraits his attitude is a bit the same, he only needs three ingredients: instinct, aesthetics and emotion.
By now we know that a photograph is much more than a simple image and that, indeed, the most interesting part is precisely that which we do not see and of which we want to know the details. Salvo Giuffrida is well aware of this and it is from this conviction that his “Ritratti Stampati” series was born.
Salvo Giuffrida is Sicilian, from Santa Maria di Licodia to be exact, a town that lies halfway between Etna and the coast, between the mountains and the sea. It is important to stress the role of this place because it has proved to be a fundamental element in his artistic production.
Salvo has been photographing for almost ten years, but it is only in the last two that he has really dedicated himself to photography. The reason for this decision was the meeting with photographer Toni Thorimbert that took place in 2018; it is precisely since then that photography has become his daily routine.
Last November, the “Ritratti Stampati” project was born out of the need to make room for portraits again. So Salvo Giuffrida begins to shoot anyone who is willing to be portrayed, then completing the creation process with the actual printing of the shot – on fine art paper with a 100-year guarantee -, fighting the passage of time.
After more than 50 portraits, Salvo realised he wanted more than a portrait and it was here that the Sicilian landscape came back into focus. He starts taking pictures of his subjects – ordinary people on the shoreline with the sea behind them or surrounded by the rugged nature of Mount Etna – and suddenly the creation of the image takes a back seat. The experience of the people takes on importance, their mood and feelings are amplified by the place that frames them.
Through the portrait, the photographer creates an experience in which man is called upon to let go, to rediscover his primordial side and to rebuild a bond with nature through contact with its elements.
“In the end there is a portrait to hang, which will serve as a reminder of who we were at that particular moment.”
What would it be like to photograph a dream? In dreams there is always a precise atmosphere, something that captures our attention but is often never revealed, elements that we recognise as belonging to reality but which suddenly become absurd. In her shots, photographer Maria Maglionico captures this essence.
Originally from southern Italy, Maria does not photograph to document anything in particular, but uses photography as a true artistic medium to express emotions, feelings and sensations that are difficult to describe verbally.
If we take a look at her artistic production, we notice how images with cold tones, tending towards blue, intertwine with warmer and more intimate images with neutral colours. Moreover, the person we see in the shots is often Maria herself, hiding her face behind a mirror or simply with her back turned.
Like Alice of the White Rabbit, we too are enchanted by Maria Maglionico’s photographs and as we leaf through them we are plunged into a world poised between dream and reality where there is no longer any difference between what is real and what is surreal.