photographize magazine | issue 18 - january 2014

E | MAGAZINE

January 2014

Photographize is an independent electronic magazine, downloadable FREE, that involves any kind of art regardless of technique or period such as illustra-tion, painting, digital art, photography, sculpture, graphics. Wants to be a virtual place based on the immediacy, where the images are presented in their pure beauty have the ability to capture and capti-vate the viewer

web: www.photographize.org

All images and text published in PhotographizeMag are the sole property of the featured authors and the subject copyright.

No image or text can be reproduced, edited, copied or distributed without the express written permission of its legal owner.

Editor,founder,publisher and Art Director : Andrea Costantini

Follow me:

email: [email protected]

Cover : © Vanessa Paxton

JANUARY 2014

3Fabrice Silly

Aneta Ivanova

David Stewart

Vanessa Paxton

Ronnie Baxter

Ben Zank

Logan Zillmer

Photographize is an independent electronic magazine, downloadable FREE, that involves any kind of art regardless of technique or period such as illustra-tion, painting, digital art, photography, sculpture, graphics. Wants to be a virtual place based on the immediacy, where the images are presented in their pure beauty have the ability to capture and capti-vate the viewer

web: www.photographize.org

Editor,founder,publisher and Art Director : Andrea Costantini

Follow me:

email: [email protected]

Cover : © Aneta Ivanova

JANUARY 2014

3Fabrice Silly

Aneta Ivanova

David Stewart

Vanessa Paxton

Ronnie Baxter

Ben Zank

Logan Zillmer

FABRICE SILLY

If one of Fabrice Silly’s shots happens to appear on a

«wall» of photographs, your eye will immediately be attracted

to it as if replying to a call.

Apart from the typical effect of the long exposure resulting

in a distension of time, it is above all the “almost

nothing”, the subtle emptiness that are appealing.

Appealing, questioning, secretly echoing our existential

obsessions. The evidence in these “compositions”, where a

human figure seems to be lost, facing an environment reduced

to its basic elements.

“Compositions” since spatial landmarks are rubbed out and

tracks are covered : a topographical deconstruction and

reconstruction completing the distension of time (explained

above). The basic “ time and space” element revisited and

purified , so as to magnify it in a piece of personal work,

marching forward to weightlessness. To better describe this,

music, with its ethereal spirals, seems to be closer than

words weighed down by real life.

Emanating from his imaginary world, Fabrice Silly’s works are

aesthetic proposals calling on our own imagination.

He does not intend to make us travel, but to carry us away.

The challenge succeeds, for the spell also works in the urban

snapshots. Revisited megalopolis, becoming illusions at the

risk of wounding the pride of the highest tower, reminding us

that man is ephemeral in a floating world. Silence and desert

sand will eventually take over the welcoming oasis.

In his work the tireless quest for an uncluttered style,

aesthetically ideal, persevering and, though still discreet,

easily recognizable, enables Fabrice Silly to be acknowledged

as a real artist.

FABRICE SILLY

If one of Fabrice Silly’s shots happens to appear on a

«wall» of photographs, your eye will immediately be attracted

to it as if replying to a call.

Apart from the typical effect of the long exposure resulting

in a distension of time, it is above all the “almost

nothing”, the subtle emptiness that are appealing.

Appealing, questioning, secretly echoing our existential

obsessions. The evidence in these “compositions”, where a

human figure seems to be lost, facing an environment reduced

to its basic elements.

“Compositions” since spatial landmarks are rubbed out and

tracks are covered : a topographical deconstruction and

reconstruction completing the distension of time (explained

above). The basic “ time and space” element revisited and

purified , so as to magnify it in a piece of personal work,

marching forward to weightlessness. To better describe this,

music, with its ethereal spirals, seems to be closer than

words weighed down by real life.

Emanating from his imaginary world, Fabrice Silly’s works are

aesthetic proposals calling on our own imagination.

He does not intend to make us travel, but to carry us away.

The challenge succeeds, for the spell also works in the urban

snapshots. Revisited megalopolis, becoming illusions at the

risk of wounding the pride of the highest tower, reminding us

that man is ephemeral in a floating world. Silence and desert

sand will eventually take over the welcoming oasis.

In his work the tireless quest for an uncluttered style,

aesthetically ideal, persevering and, though still discreet,

easily recognizable, enables Fabrice Silly to be acknowledged

as a real artist.

5 6All images and text published in PhotographizeMag are the sole property of the featured authors and the subject copyright.

My name is Aneta Ivanova and I am 21-years old photographer born in Varna,

Bulgaria.

I started doing photography when I was 13 and have never stopped since

then. I began by shooting experimental self-portraiture in my home, then

discovered Fine art and fashion photography.

I’m open for all kinds of projects and collaborations.

My name is Aneta Ivanova and I am 21-years old photographer born in Varna,

Bulgaria.

I started doing photography when I was 13 and have never stopped since

then. I began by shooting experimental self-portraiture in my home, then

discovered Fine art and fashion photography.

I’m open for all kinds of projects and collaborations.

David Stewart, Great-Britain, 1958, is a photographer that uses a lot of

humour in his photographs, this is also visible in the playfull design of

his website. In 2009 his latest book Thrice Removed was published.

It is a collection of images that work like an observation on

relationships and life in general.

On his website one can find the category Stuff.

Various humorous images dealing with the darker side of life like suicide.

David Stewart, Great-Britain, 1958, is a photographer that uses a lot of

humour in his photographs, this is also visible in the playfull design of

his website. In 2009 his latest book Thrice Removed was published.

It is a collection of images that work like an observation on

relationships and life in general.

On his website one can find the category Stuff.

Various humorous images dealing with the darker side of life like suicide.

39 40 © David Stewart

"Every child is born blessed with a vivid imagination. But just as a

muscle grows flabby with disuse, so the bright imagination of a child

pales in later years if [s]he ceases to exercise it." - Walt Disney

I grew up in a rural part of Jamaica reading Lewis Carroll and watching

every Walt Disney film ever created. My mum owned a video store so I had

endless access to all the beautiful worlds conjured up by adults who never

lost their imagination, and occasionally some who had.

I had a very isolated childhood because of where my dad built his house.

It was a large house miles from the main road. We, in my family, call it

‘the house on the hill’ and it’s regarded with a swarm of emotions.

There wasn’t much else for me to do but play dress up and make believe

with myself. Invent scenarios, go on adventures, and get lost on the Green

Island mountainside. I can say with certainty that this has contributed to

the aesthetic and subject matter in my early work, as well as the way that

I still prefer to shoot: alone. I once believed in magic.

I honestly believed it was possible to fly. I chased that feeling for a

long time until recently. As my work evolves and as I mature I see myself

headed in a more psychological direction.

I’m being steered toward uncovering the darkness that had been silently

waiting; the film that played out and looped over and over again all the

while I was off playing princess.

"Lorde" of the flies II © Vanessa Paxton

"Every child is born blessed with a vivid imagination. But just as a

muscle grows flabby with disuse, so the bright imagination of a child

pales in later years if [s]he ceases to exercise it." - Walt Disney

I grew up in a rural part of Jamaica reading Lewis Carroll and watching

every Walt Disney film ever created. My mum owned a video store so I had

endless access to all the beautiful worlds conjured up by adults who never

lost their imagination, and occasionally some who had.

I had a very isolated childhood because of where my dad built his house.

It was a large house miles from the main road. We, in my family, call it

‘the house on the hill’ and it’s regarded with a swarm of emotions.

There wasn’t much else for me to do but play dress up and make believe

with myself. Invent scenarios, go on adventures, and get lost on the Green

Island mountainside. I can say with certainty that this has contributed to

the aesthetic and subject matter in my early work, as well as the way that

I still prefer to shoot: alone. I once believed in magic.

I honestly believed it was possible to fly. I chased that feeling for a

long time until recently. As my work evolves and as I mature I see myself

headed in a more psychological direction.

I’m being steered toward uncovering the darkness that had been silently

waiting; the film that played out and looped over and over again all the

while I was off playing princess.

"Lorde" of the flies II © Vanessa Paxton

The Color Project - Green © Vanessa Paxton The Color Project - Brown © Vanessa Paxton

Outlet © Vanessa Paxton Relapse © Vanessa Paxton

Wasteland I © Vanessa Paxton Wasteland II © Vanessa Paxton

Untitled © Vanessa Paxton

59 60© Ronnie Baxter

I’ve always had a fascination for the sea and how it crafts the land.

For the last few years I’ve spent time walking areas of the Central East

Coast of Scotland and NE England photographing the natural and the

man-made elements that have demanded my attention.

Working as a commercial photographer for too many years to mention and not

always being the master of what I can shoot, being able to spend time on

this personal project has been immensely therapeutic and fun and I intend

to continue developing this series.

Currently my time is split between commercial photography, running One2One

landscape workshops and lecturing in photography at Edinburgh College.

59 60© Ronnie Baxter

I’ve always had a fascination for the sea and how it crafts the land.

For the last few years I’ve spent time walking areas of the Central East

Coast of Scotland and NE England photographing the natural and the

man-made elements that have demanded my attention.

Working as a commercial photographer for too many years to mention and not

always being the master of what I can shoot, being able to spend time on

this personal project has been immensely therapeutic and fun and I intend

to continue developing this series.

Currently my time is split between commercial photography, running One2One

landscape workshops and lecturing in photography at Edinburgh College.

Ben Zank was born

in Bronx, New York. At the age of

18, he began taking photographs for fun after he

discovered a Pentax ME Super in his grandmother's

attic. His self-portraits aim to stretch the viewer's

imagination and express his feelings when words fail.

I didn’t go to school for photography.

Instead I majored in journalism. As a journalist in

school, you find that your own words end up being

silenced and in place are an objective and almost

robotic narrative that is constantly regurgitated.

Consequentially, I found myself bad at expressing my

emotions through words. I was good at the rant, but any

real meaning about myself was locked deep inside.

My photographs are a way for me to abstractly speak my

opinion and bring my emotions into light.

My photographs represent my current and past emotions.

Being in control, being powerless, stuck, being free

again, etc. Think of it like a power struggle.

Ben Zank was born

in Bronx, New York. At the age of

18, he began taking photographs for fun after he

discovered a Pentax ME Super in his grandmother's

attic. His self-portraits aim to stretch the viewer's

imagination and express his feelings when words fail.

I didn’t go to school for photography.

Instead I majored in journalism. As a journalist in

school, you find that your own words end up being

silenced and in place are an objective and almost

robotic narrative that is constantly regurgitated.

Consequentially, I found myself bad at expressing my

emotions through words. I was good at the rant, but any

real meaning about myself was locked deep inside.

My photographs are a way for me to abstractly speak my

opinion and bring my emotions into light.

My photographs represent my current and past emotions.

Being in control, being powerless, stuck, being free

again, etc. Think of it like a power struggle.

84All images and text published in PhotographizeMag are the sole property of the featured authors and the subject copyright.

I am a 28 year old conceptual photogarpher from the Midwest.

I have been interested in photography ever since I was in high school,

however, until this year I was really only concerned with documentary

style photography.

I am a film school graduate, and have spent the few years since my

graduation trying to get films made.

The frustrations of that are what led me to do this project.

I needed something that I could do entirely on my own, without having to

rely on anyone else for anything that could make or break the project.

I had a lot of energy built up from these frustrations trying to get films

made and it needed an outlet and fast.

So, I decided if I was going to do this project, my goal was to find the

voice in myself that wanted to get out. I banished all pre-conceived

notions about what kind of photography I thought I should be doing and

just started making things, whatever my imagination came up with.

It became pretty quickly evident that my imagination is not made for doc

style, and that conceptual photography is where my true voice is.

I am a 28 year old conceptual photogarpher from the Midwest.

I have been interested in photography ever since I was in high school,

however, until this year I was really only concerned with documentary

style photography.

I am a film school graduate, and have spent the few years since my

graduation trying to get films made.

The frustrations of that are what led me to do this project.

I needed something that I could do entirely on my own, without having to

rely on anyone else for anything that could make or break the project.

I had a lot of energy built up from these frustrations trying to get films

made and it needed an outlet and fast.

So, I decided if I was going to do this project, my goal was to find the

voice in myself that wanted to get out. I banished all pre-conceived

notions about what kind of photography I thought I should be doing and

just started making things, whatever my imagination came up with.

It became pretty quickly evident that my imagination is not made for doc

style, and that conceptual photography is where my true voice is.

www.fabricesillyphotography.com

www.anetaivanova.com

www.davidstewwwart.com

www.vanessapaxton.com

www.ronniebaxter.co.uk

www.benzank.com

www.loganzillmer-photography.tumblr.com

Fabrice Silly

Aneta Ivanova

David Stewart

Vanessa Paxton

Ronnie Baxter

Ben Zank

Logan Zillmer

/art/photography/creative/

www.fabricesillyphotography.com

www.anetaivanova.com

www.davidstewwwart.com

www.vanessapaxton.com

www.ronniebaxter.co.uk

www.benzank.com

www.loganzillmer-photography.tumblr.com

Fabrice Silly

Aneta Ivanova

David Stewart

Vanessa Paxton

Ronnie Baxter

Ben Zank

Logan Zillmer

/art/photography/creative/

photographize magazine | issue 18 - january 2014

Documents

digital art

art director

kind of art

fabrice sillys works

fabrice sillys shots

distension of time

basic time

vanessa paxtonjanuary