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Photography

In ‘African Studies,’ Edward Burtynsky Photographs the Human Imprint on Sub-Saharan Landscapes

March 28, 2023

Grace Ebert

An aerial photo of a gold mine

“Gold Tailings #1, Doornkop Gold Mine, Johannesburg, South Africa” (2018). All images © Edward Burtynsky, shared with permission

Renowned photographer Edward Burtynsky approaches his latest project with curiosity about the future of human impact and globalization. From the diamond mines of South Africa to the richly textured landscape of Namibia’s Tsaus Mountains, African Studies spotlights the sub-Saharan region and its reserves of metals, salt, precious gemstones, and other ores. “I am surveying two very distinct aspects of the landscape,” he says in a statement, “that of the earth as something intact, undisturbed yet implicitly vulnerable… and that of the earth as opened up by the systematic extraction of resources.”

Taken over seven years in ten nations—these include Kenya, Nigeria, Ethiopia, Ghana, Senegal, South Africa, Botswana, Namibia, Madagascar, and Tanzania—the aerial photos, which are compiled in a forthcoming book published by Steidl, present a dichotomy between a region irrevocably altered by humanity and one of immense possibility. Burtynsky’s interest in the continent began in the early Aughts when working on a series about China, which he explains:

For that project, and while researching several topics including the Three Gorges Dam, urban renewal, and recycling, I learned how the new Chinese factories were being created. At the time, heavy machinery was literally being unbolted from concrete floors in Europe and North America, then shipped and refastened to the floors of gigantic facilities in China. This represented a paradigm shift of industry, and it seemed obvious that China was rapidly becoming a leading manufacturer for the world. I realized even then that the African continent was poised to become the next, perhaps even the last, territory for major industrial expansion.

Particularly since 2013 when it launched its Belt and Road Initiative, China has invested billions of dollars in expanding its global presence, with many African nations as targets. This growth, along with international competition for access and power on the continent, has widespread economic, environmental, and governmental impacts, which Burtynsky explores through the series.

 

An aerial photo of an oil bunker

“Oil Bunkering #9, Niger Delta, Nigeria” (2016)

Photographed via helicopter, plane, or drone, his images juxtapose the natural beauty of the landscape with the unnerving scars of human impact. Long tailing ponds, or waste sites from mining with the potential to contaminate the area with toxic chemicals, appear frequently in the project, while photos like that of the Dandora Landfill center on the direct effects of consumerism on local people. The largest waste repository in Kenya, the dump site attracts locals who scavenge recyclable plastic to sell, despite the rampant threat of cancer and infertility.

While much of African Studies is shot outdoors, Burtynsky heads inside for part of the project, documenting the interiors of manufacturing plants. “I hope to continue raising awareness about the cost of growing our civilization without the necessary consideration for sustainable industrial practices and the dire need for implementing globally organized governmental initiatives and binding international legislations in order to protect present and future generations from what stands to be forever lost,” he says.

African Studies is currently available for pre-order on Bookshop. Photos from the series are also on view at two New York spaces: Sundaram Tagore through April 1 and Howard Greenberg Gallery through April 22.

 

An aerial photo of people digging on a landscape

An aerial photo of people picking through heaps of trash

“Dandora Landfill #3, Plastics Recycling, Nairobi, Kenya” (2016)

An aerial photo of the Tasaus Mountains

“Tsaus Mountains #1, Sperrgebiet, Namibia” (2018)

An aerial photo of a diamond mine

“Tailings Pond #2, Wesselton Diamond Mine Kimberley, Northern Cape South Africa” (2018)

An aerial photo of colorful salt ponds

 

 

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Art

Bewildering Reflections and Perspectives Shift in the Hyperrealistic Oil Paintings of Nathan Walsh

March 13, 2023

Kate Mothes

A detailed oil painting of a Manhattan intersection in the rain.

“Delmonico’s” (2021), oil on linen, 87 x 90 centimeters. All images © Nathan Walsh, shared with permission

In his intricate oil paintings, Nathan Walsh captures the textural sheen of rain on city streets and luminescent reflections in cafe windows. The artist has previously explored different vantage points in elaborate cityscapes, rendering the corners of buildings, corridors of skyscrapers, and expansive bridges in detailed, two-point perspective. Recently, he has further honed ideas around perception and the way the built environment presents uncanny optical illusions in the interplay of people and objects, light, and reflections.

The ideas for Walsh’s compositions often form as he wanders the streets of cities like New York and Paris, making sketches and taking photographs that he brings back to his studio, a converted Welsh Methodist chapel. “Up until last year, my work had been exclusively devoted to the urban landscape,” he tells Colossal, sharing that various objects like those spotted in an antique shop window in Paris’s 7th arrondissement signaled new references to his ideas around place and familiarity. He says:

I would travel, collect information, then return to my studio to respond to that material. “Metaphores” started in the same way: a trip to Paris, wandering aimlessly around the streets looking for ideas. On my return to the U.K., I realised a lot of the photographs and drawings I’d made were touching on similar subject matter to [my] home environment.

Pieces like “Metaphores” or “Rue de Saints” represent a shift in Walsh’s understanding of the urban landscape or more concisely, of how it is experienced. Elaborate window reflections warp our sense of space and fuse realism with imagination, such as in “Monarchs Drift,” in which the artist has spliced together scenes of Chicago and San Francisco. Walsh imbues the works with what he describes as a “hallucinatory quality which is ‘neither here nor there,'” embracing notions of transition, global connections, and his own memories of trips he has taken.

Walsh’s paintings will be featured in a forthcoming book published by Thames & Hudson dedicated to urban landscapes, and you can find more of his work on his website and Instagram.

 

A detailed oil painting of a Parisian cafe viewed from outside with reflections of the buildings in the window.

“Rue Des Saints” (2022), oil on linen, 129 x 123 centimeters

An underdrawing for an oil painting of a Parisian cafe.

Preliminary drawing for “Rue Des Saints”

A detailed oil painting of a Manhattan scene.

“Monarchs Drift” (2022), oil on linen, 121 x 153 centimeters

Artist Nathan Walsh pictured in his studio.

A detailed oil painting of a view down a Manhattan street from the Highline.

“View from the Highline” (2020), oil on linen, 60 x 90 centimeters

A detailed oil painting of figurines and statues in a window with building reflections in the glass.

“Metaphores” (2023), oil on linen, 122 x 158 centimeters

A detailed underdrawing for a painting.

Preliminary drawing for “Metaphores”

A detailed oil painting of Manhattan at twilight.

“Twilight” (2020), oil on linen, 60 x 70 centimeters

Artist Nathan Walsh pictured in his studio.

 

 



Photography

Shrouded in Mist, Spectral Icebergs Float Around the Antarctic Peninsula in Photos by Jan Erik Waider

March 1, 2023

Kate Mothes

A photograph of an Antarctic iceberg by Jan Erik Waider.

All images © Jan Erik Waider, shared with permission

In late 2019, Jan Erik Waider boarded the Bark Europa, a 56-meter-long wooden sailing ship constructed in 1911, bound for the Antarctic Peninsula. The Hamburg-based photographer, whose work centers on polar landscapes (previously), captured the multifaceted forms of glaciers and icebergs, steely grays of storms, and shrouds of mist during the 24-day voyage. Waider is known for his documentation of dramatic northern destinations like Iceland, Norway, and Greenland, and a trip to the southern extreme proffered an opportunity to expand on his series of atmospheric vistas with the project A Faint Resemblance.

Antarctica is approximately 98% covered in ice and nearly doubles in size in the winter when the sea freezes around its periphery. In summer, the sheets break up and calve thousands of icebergs, many of which are so vast that they can be measured in square miles. Waider captured the spectral forms of these floating, icy islands as the ship rounded the coastline, drifting through patches of fog that added an extra element of surprise when it cleared to reveal a new scene. “The infinite shapes and textures of icebergs in the polar regions fascinate me again and again,” he says, adding that “the proportions are unimaginable, considering that the largest part is still under water.” Waider is always astonished by the spectrum of the color blue, which on cloudy days can appear even more vibrant, as if glowing from within.

The poles have seen record warmth and ice melt in the past few years, which contributes to rising sea levels and alters the region’s ecosystems. Waider says, “I’m really drawn to landscapes that are transforming or vanishing like icebergs and glaciers. It has a fascinating and also a sad element, and every photo is a snapshot of a moment which is long gone by now.”

Waider is preparing to publish a photo book of more images from his Antarctica trip, emphasizing a holistic interpretation of the continent’s landscape, nature, wildlife, historic sites and the Bark Europa. Find more of his work on his website and Behance.

 

A photograph of an Antarctic iceberg by Jan Erik Waider.

A photograph of an Antarctic iceberg by Jan Erik Waider.

A photograph of an Antarctic iceberg by Jan Erik Waider.

A photograph of an Antarctic iceberg by Jan Erik Waider.

A photograph of an Antarctic iceberg by Jan Erik Waider.

A photograph of an Antarctic iceberg by Jan Erik Waider.

A photograph of an Antarctic iceberg by Jan Erik Waider.

A photograph of an Antarctic iceberg by Jan Erik Waider.

 

 



Photography

Sho Shibata Captures the Beastly Snow-Covered Trees of Japan’s Hakkōda Mountains

February 28, 2023

Grace Ebert

A photo of snow covered trees that look like monsters

All images © Sho Shibata, shared with permission

A few years back, photographer Sho Shibata traversed the frozen landscapes of Aomori’s Hakkōda Mountains documenting the otherworldly formations that cover the slopes. Heavy, icy snow cloaks the countless trees that populate the region, morphing the arboreal vistas into frigid hoodoo-like characters. “This is my favourite place to visit when it is cold like this because it transforms into a wonderland,” Shibata says. “When I first saw them, I actually thought there were lots of snowmen. What’s incredible is how they all look so similar. They look like snow monsters, like they are ghosts.”

Rising to 5,200 feet, Hakkōda is a popular ski destination in the winter, when temperatures plunge and dry, powdery snow blankets the volcanic peaks. “I moved from mountain to mountain. Temperatures got as low as -8 degrees Celsius while I was up there,” he said. “This meant I was able to capture walkers on their journey.”

In addition to the frosty specters shown here, Shibata published a book of black-and-white photos showcasing the area near his home in the Tsugaru region. You can find more of his work on Instagram. (via Spoon & Tamago)

 

A photo of people skiing down a snow covered mountain

A photo of a snow covered mountain with hundreds of trees

A photo of a snow covered mountain

A photo of a snow and tree covered mountain

A photo of a snow and tree covered mountain

A photo of a snow covered shelter

A photo of a snow and tree covered mountain wiht people skiing

A photo of a person skiing on a hazy, snow covered mountain

 

 



Photography

Dramatic Landscapes and Dazzling Portraits Highlight Global Perspectives in the 2023 Sony World Photography Awards

February 8, 2023

Kate Mothes

A photograph of a cyclist illuminated by street lamp on a rural road juxtaposed with a city in the background.

Gyu Seob Shim, Republic of Korea, 1st Place, National Awards. All images © the photographers, shared with permission courtesy of the Sony World Photography Awards

From the sinuous lines of a leaping cat, to a giant tortoise gliding alongside a snorkeler, to a lone cyclist illuminated on a road juxtaposed against a looming city, the winning images from this year’s Sony World Photography Awards (previously) showcase remarkable slices of life captured by photographers hailing from 55 countries around the globe. Now in its 16th year, the competition garnered more than 415,000 entries from more than 200 nations and territories, about half of which were entered into the running for the National Awards, an initiative set up by the World Photography Organization and Sony to support local photographic communities around the world.

Check out some of our favorite images below, and if you’re in London, stop by Somerset House between April 14 and May 1 to see all of the winning images on display, including top picks from the student, youth, open, and professional categories.

 

The Milky Way photographed over a mountain range and a frozen body of water.

Filip Hrebenda, Slovakia, Shortlist, Regional Awards

An overview photograph of a figure snorkeling beside a giant tortoise.

Thiện Nguyễn Ngọc, Vietnam, Winner, National Awards

A dramatic glacial shelf.

Huazheng Hong, Singapore, Winner, National Awards

A cat jumping in the air, photographed in black-and-white and creating an abstract, linear composition.

Kazutoshi Ono, Japan, 2nd Place, National Awards

A photograph of an owl peeking out from behind a tree limb.

Protap Shekhor Mohanto, Bangladesh, Winner, National Awards

A portrait of two women in black-and-white, one seated and one standing, holding an umbrella.

Nukabari Opuama, Nigeria, Winner, National Awards

A profile view of a colorful tree frog.

Manuel Rodríguez, Costa Rica, Shortlist, Latin America National Awards

A portrait of a woman seated in a classic convertible, resting on the door with her eyes closed, holding flowers and with flowers in the background.

Samia Berbiche, France, Winner, National Awards

A volcanic lava flow.

Niks Freimanis, Latvia, Shortlist, Regional Awards

 

 



Art

Ethereal Light Suffuses Domestic Interiors with Surreal Hues in Alfie Caine’s Paintings

January 31, 2023

Kate Mothes

A painting by Alfie Caine of a surreal architectural space in a landscape lit by uncanny light.

“House through the Ferns” (2022), vinyl and acrylic paint on canvas, 120 x 90 centimeters. All images © Alfie Caine, shared with permission courtesy of the artist and JARILAGER Gallery

Imbued with otherworldly light and a jewel-toned palette, Alfie Caine’s dreamscapes tuck domestic architecture into the idealized surroundings of manicured neighborhoods, country gardens, and lush woodland. The East Sussex-based artist draws on his formal training in architecture to render homes and their environs in vivid hues, playing with perspective and the relationship between light and shadow in an interplay of interior and exterior.

In Caine’s vignettes of domestic life, clues to the inhabitants are found in details like a potted plant propping a door open, a pet awaiting attention, or a glimpse of a figure in the corner, nearly out of view. The precision of linear perspective and bold contrasts meet the surreal, organic forms of wispy flora and streams of chimney smoke in scenes that emphasize small moments of pleasure in everyday life, such as taking a hot bath, strumming a guitar, or lighting a candle. These instances of familiarity are often countered by uncanny light sources, which illuminate bouquets of flowers, cast long shadows, and portend an incoming storm or some mysterious, unknown event.

Caine’s solo show titled Moments of Calm is on view through February 23 at JARILAGER Gallery. Find more of the artist’s work on his website and Instagram.

 

A painting by Alfie Caine of a surreal architectural space in a landscape lit by uncanny light.

“Before the Storm” (2022), vinyl and acrylic paint on canvas, 120 x 170 centimeters

A painting by Alfie Caine of a surreal architectural space in a landscape lit by evening light.

“Foxglove Farmhouse” (2022), vinyl and acrylic paint on canvas, 120 x 90 centimeters

A painting by Alfie Caine of a surreal architectural space in a landscape lit by uncanny light.

“Bath by Candlelight” (2022), vinyl and acrylic paint on canvas, 120 x 170 centimeters

A painting by Alfie Caine of a surreal architectural space in a landscape lit by uncanny light.

“Bathroom off the Corridor” (2022), vinyl and acrylic paint on canvas, 152.4 x 121.9 centimeters

A painting by Alfie Caine of a surreal architectural space in a landscape lit by uncanny light.

“Entrance Overlooking the Bay” (2022), vinyl and acrylic paint on canvas, 177.8 x 203.2 centimeters

A painting by Alfie Caine of a surreal architectural space in a landscape lit by uncanny light.

“Lacquer Staircase” (2022), vinyl and acrylic paint on canvas, 177.8 x 152.4 centimeters

A painting by Alfie Caine of a surreal architectural space in a landscape lit by uncanny light.

“Red Dining Room” (2022), vinyl and acrylic paint on canvas, 152.4 x 121.9 centimeters

A painting by Alfie Caine of a surreal architectural space in a landscape lit by uncanny light.

“Riverside Porch” (2022), vinyl and acrylic paint on canvas, 120 x 90 centimeters

A painting by Alfie Caine of a surreal architectural space in a landscape lit by uncanny light.

“Two Blue Trees” (2022), vinyl and acrylic paint on canvas, 120 x 90 centimeters