Renata Buziak

Renata Buziak was born in Poland and moved to Australia in 1991. In 2006 she has completed her Bachelor of Photography with First Class Honours at Queensland College of Art, Griffith University, Brisbane, and PhD research in 2016. Renata is also a tutor at QCA and a Queensland Centre for Photography (QCP) management board member. Renata’s work has been exhibited in solo and group exhibitions, nationally and internationally, including ANCA Gallery in Canberra, Red Gallery in Melbourne, the Queensland Centre for Photography, the Perth Institute for Contemporary Art, Blender Gallery in Sydney, Photo LA, The Opole Contemporary Art Gallery, and the Academy of Fine Art in Warsaw. Her work is held in public and private collections including the National Museum in Wrocław, Poland and Queensland Centre for Photography, South Brisbane.

Dornith Doherty

Dornith Doherty was born in Houston, Texas, and received a BA cum laude in Spanish and French language and literature at Rice University in 1980, and an MFA in Photography from Yale University in 1988. Her work has been exhibited extensively, both nationally and internationally by institutions including Crystal Bridges Museum of American Art (2014), the Amon Carter Museum of Art, (2013), Tucson Museum of Art, (2013), the Museum of Photography, Rafaela, Argentina, (2013), Encuentros Abiertos Photography Biennial in Buenos Aires, Argentina (2010) and collected in permanent collections including Museum of Fine Arts in Houston, Texas; the Amon Carter Museum of American Art in Fort Worth, Texas; and the Museum of Fine Arts in Milwaukee, Wisconsin. She currently is a Distinguished Research Professor at the University of North Texas and resides in the Dallas area.

Sites and Citations

Image: Ruth Beale, England’s Pleasant Land: A Remake, 2013, Arc Issue 17.1

Ruth Beale, England’s Pleasant Land: A Remake, 2013, Arc Issue 17.1

                          SITES AND CITATIONS | 19 – 30 October 2016 Opening reception: 22 October, 4-6pm Ruth Beale Sandra Lahire Marie Yates Leah Borromeo and Katharine Round of Disobedient Films with composer Jamie Perera ONCA Centre for Arts and Ecology, 14 St George’s Place, Brighton, BN1 4GB Organised by Hemera Collective Sites and Citations is an exhibition that brings together artists, film-makers, composers, and academics who use research-led practice to interrogate the different modes of sharing and interpreting information and ideas relating to public space. In the context of the theme of Brighton Photo Fringe 2016 – the commons – and exhibiting in a space dedicated to the intersection of art and ecology, we will be considering these ideas through explorations of data and land ownership, the relationship between labour and resources, the spaces of activism, and how we define our public space. Ruth Beale’s work is situated between performance and publishing and is informed by writing, authorship and the framework of research and histories. In the fragments of the work England’s Pleasant Land: A Remake (2013), the artist revisits the subject matter of the 1939 pageant play by E.M. Forster that tells a story of the history of the countryside prior to Enclosure through to the present moment and its need for preservation. In its re-telling and re-imagining, here through a rehearsal script and posters, we are made aware of the pageant reenactment as a particularly linear, class-based, empirical telling of history, while highlighting the issues of preservation and ownership and the idea of historic/natural authenticity in contemporary notions of the countryside that endure today. Marie Yates’ Oppositional Frameworks 1(from Signals 1975 – 78) (1976) is an historic image-text artwork from a larger body of conceptual works undertaken for an exhibition at the Robert Self Gallery in 1978 together with the gallery’s publication of her bookwork “A Critical Re-evaluation of a Proposed Publication 1978” (photocopy available). Her long-standing (1971-8) project “The Field Workings” represent a developing progression of ideas about nature and culture and the context of the ‘field’ as a work of observation carried out in the natural environment. The viewer is invited to make observations and to consider their presence within the work, as well as their position within the established binary framework and categorisation that informs, not only, the dichotomy between nature and culture but of photographic/artistic seeing/vision and perhaps even our broader relationships with one another. In the experimental documentary film Serpent River (1989) by Sandra Lahire, the artist explores the impact of a uranium mining corporation on an area of Northern Ontario, Canada. Through fragments of audio interviews and moving image, Lahire focuses on the female labour workforce and the element’s potentially devastating effect on the body, together with the corporation’s neglect of the natural environment and the native Canadian community. Leah Borromeo and Katharine Round of Disobedient Films with composer Jamie Perera’s, Climate Symphony (2016) is a project that turns hard data on climate change into a symphony that tells the story what climate change means through sound. Through the sonification of publicly accessible datasets that cover anything from migration and weather patterns to ice flow, this project seeks to transform the language of action and activism in a way that doesn’t rely on visual tropes. The audio for the exhibition is created through a test lab where participants collectively select and perform the datasets and instrumentation for the symphony and follows a chronological narrative. LIST OF WORKS: 1, 2, 3: Ruth Beale, England’s Pleasant Land: A Remake, 2013, screen-print on wall, script, risograph posters 4: Marie Yates, Oppositional Frameworks 1 (from Signals 1975 – 78), 1976, set of 6 panels: colour & black and white archival inkjet prints with texts mounted on board, 30.5 x 35.25 cm each. Courtesy Richard Saltoun Gallery 5: Sandra Lahire, Serpent River, 1989, SD video, Colour, Stereo, 30mins, Courtesy of LUX, London 6: Leah Borromeo and Katharine Round of Disobedient Films with composer Jamie Perera’s, Climate Symphony, 2016, audio. Please note: the Climate Symphony will begin every 20 minutes. EVENTS: Data Sonification Test Bed for a Climate Symphony Friday 21 October, 12-4pm at ONCA Take part in Climate Symphony’s first participatory lab at ONCA and learn more about Climate Symphony while generating and composing sound and music that will become part of the exhibition. Free to attend and open to all. RSVP through Eventbrite as places are limited Dr Louise Purbrick, University of Brighton, in discussion with Kay Watson, Hemera Collective Saturday 29 October, 2-3pm at ONCA An introduction to the works and concepts of the exhibition with discussion with Dr Louise Purbrick about land ownership, resources and labour. BIOGRAPHIES:
Ruth Beale’s works are informed by varying cultural expressions and the reordering of political and social ideas. In 2011 she presented the event series ‘Public Knowledge’ at Cubitt Gallery, the first in the new programme curated by Fiona Parry, and was part of ‘The Department of Overlooked Histories’ at Wysing Arts Centre, Cambridge. Her work takes on collaboration in themed discussions such as her ongoing ‘Miss B’s Salons’, and didactic performance such as ‘Art for Virtue’s Sake’ ICA, London, a lecture on the historical relationship between education and ‘culture as a social project’ and ‘The Aesthetics of Power’ Form Content, London (2010), a play about fetishisation of fascist architecture. Ruth Beale was born in the UK. She lives and works in London. Sandra Lahire was born in 1950. She studied Philosophy at the University of Newcastle-on-Tyne (BA), Fine Art Film at St Martins School of Art (BA 1984) and Film & Environmental Media at the Royal College of Art (MA 1986). Her films have been shown nationally and internationally at cinemas and festivals including Creteil, Locarno, Berlin, Montreal, Sao Paolo, Turin, Jerusalem, Australia and the Philippines. Writings include Lesbians in Media Education published in Visibly Female (ed Hilary Robinson, Camden Press 1987) and articles for Undercut. She also wrote a musical score for Lis Rhodes’ film Just About Now. She passed away in 2001. Marie Yates (b. 1940) is known for her conceptual works addressing issues of representation, signification and sexual difference, in the form of installation, image and text. In the early 1960s she was also known as a painter and environmental sculptor. She continues to work presently through projection and installation projects. She has exhibited widely. Her installation works have appeared in many public sites in Britain and abroad, as well as in the collections of the Arts Council of England, the British Council and the Royal West of England Academy and in private collections. Her first major solo exhibition was in 1973 at the Arnolfini Gallery in Bristol. She also exhibited in many women’s group shows in the 1980s, contributing to curating, organising and speaking at conferences and feminist events up and down the country.

Disobedient Films was established by artist-filmmakers Leah Borromeo and Katharine Round to disrupt traditional linear documentary and extract new angles and emotions around factual narratives. Their projects are disobedient in form and content – aiming to create an active form of storytelling which brings the audience into the experience.

Jamie Perera is composer / artist based in London. He undertakes sound mixes, music supervision, consultancy and runs a music library. He composes bespoke music for a wide range of clients in a variety of styles. The music features regularly on film, and television, and on NGO, corporate and commercial media campaigns. The exhibition is organised by Hemera Collective, a UK-based curatorial collective that specialises in photography and lens-based media, with research interests that range from social history and environmental subjects, to literature and contemporary art. Jaime Marie Davis, Ashley Lumb, Helen Trompeteler and Kay Watson are current members of Hemera Collective. Recent exhibitions include Secret Agent, Guest Projects, 2016 and Finnish Museum of Photography, 2015, Workshop in Light and Color: The Legacy of the New Bauhaus, University of New Mexico , 2016, Essays, Brighton Photo Fringe 2014, Diary: 1/20000, Jianyong (Coca) Dai, The Anatomy Museum, Chinese Visual Festival, 2014 and Building an Empire: The Photographic Factory of Valentine & Sons,

Planetary Gardening

Planetary Gardening, Photo Access, Canberra, Australia
3 – 26 March 2017
Opening reception: Friday, 3rd March, 6pm – 8pm, Curators Tour: 26 March
– Exhibition opened by Libby Robin, Professor at the Fenner School of Environment and Society The Australian National University, and Affiliated Professor at the National Museum of Australia.

Curated by Ashley Lumb and Laura McLean

Review in the Canberra Times and Sydney Morning Herald


Merilyn Fairskye (AU), Suzanne Treister (UK), Melanie Bonajo (NL), Joe Hamilton (AU), Robyn Stacey (AU), Dornith Doherty (US), Renata Buziak (AU), Janet Laurence (AU), Anais Tondeur (FR)

Through varied applications of photographic processes, Planetary Gardening explores the symbiotic relationships between the cultural and the chemical, the organic and the technological, and the agency of human and non-human actors.

Ever since practices of cultivating and domesticating plants and animals for consumption, trade, and aesthetics began over 12,000 years ago, our planet has been shaped by human activity. Over time this cultivation compulsion has compounded, complexified, accelerated, and expanded, turning in on itself to encompass the whole earth and generating the ‘collective existential mutations’ noted by Felix Guattari, who identifies three ecologies threatened by these mutations – the environment, social relations, and human subjectivity.

Together the works gathered in Planetary Gardening examine the means by which artists have attended and tended to these ecological spheres, through their engagements with material properties and representations of botanical specimens and unnatural landscapes. Read full essay here

Suzanne Treister, HFT The Gardener / Botanical Prints, 2014-15, 20 archival giclee prints, each 29.7 x 42 cm

1-12-03_microsoft-2HFT The Gardener presents the culmination of a project comprising multiple bodies of work by the fictional character Hillel Fischer Traumberg. Traumberg is an algorithmic high-frequency trader (HFT), who experiments with psychoactive drugs, and explores the ethno-pharmacology of over a hundred psychoactive plants.

He uses gematria (Hebrew numerology) to discover the numerological equivalents of the plants’ botanical names with companies in the Financial Times Global 500 Financial Index. He communes with the traditional shamanic users of these plants whose practices include healing, divining the future, entering the spirit world, and exploring the hallucinatory nature of reality. Traumberg develops a fantasy of himself as a techno-shaman, transmuting the spiritual dimensions of the universe and the hallucinogenic nature of capital into new art forms. He becomes an ‘outsider artist’ whose work is collected by oligarchs and bankers, the world of global capital in which he began.

The 20 works in Planetary Gardening present psychoactive plants with gematria numerical equivalents of 1-20 corresponding respectively to the top 20 companies in the FT Global Financial Index. “Having compiled a gematria chart of 92 psychoactive plants, listing their botanical names alongside their global companies equivalents, Traumberg developed an algorithm that would trawl the internet collecting images of the plants which corresponded to each company. Inspired by the botanical illustrations of Ernst Haekel, which he had loved as a child, Traumberg programmed the algorithm to collate and transform these images into works with a similar style and format.” See full list of prints here. Bio

See video here

        Robyn Stacey, Leidenmaster II, from The Collectors Nature 2003, type C print, 95 x 150 cm

As one of Australia’s most acclaimed photographers, Robyn Stacey has been creating spectacular images since the mid-1980s. Her series The Collectors Nature presents us with strange and beautiful specimens that are housed in significant natural collections and often can’t be accessed by the general public due to their delicacy and scientific significance. Stacey arranges these specimens into subtle yet often sumptuous photographic montages that seem to re-enact their original environment and echo the genre of still life painting. Leidenmaster II, for instance, provides a glimpse into the material housed in the National Herbarium of the Netherlands in Leiden. It is one half of a diptych that re-presents the earliest artefact that Stacey has photographed – a book that dates from 1620 and serves as a portable herbarium, a paper database of plants. Breathing new life into such artefacts, insects and botanical specimens, Stacey’s work considers the intersection of science and everyday culture, while asking us to reflect on the evolving nature of archives and collecting. Bio


Merilyn Fairskye, Waste Plant, from Plant Life (Chernobyl), 2010, pigment print, 80 x 120 cm

Thirty years ago Reactor No.4 at Chernobyl Nuclear Power Plant exploded. In the aftermath, people, and radiation were dispersed across the Soviet Union. Over 600,000 “liquidators” participated in the cleanup. 8,000 people still work there to contain the contamination. Merilyn Fairskye’s series Plant Life is a haunting evocation of the aftermath of the explosion at Chernobyl, 25 years on.

Shot in 2010 Fairskye photographs areas around Chernobyl. By stitching single images into panoramic views of the buildings, vegetation and the earth (which are all still contaminated), she captures evidence of vast emptiness and loss. In Plant Life/playground, a ferris wheel due to open the day after the explosion sits rusting amongst snow and trees, a potent symbol of all that has been lost. Other images show construction cranes still in place. Waste Plant (Chernobyl) depicts a facility that is crucial to the ongoing nuclear safety of Chernobyl—the Interim Spent Fuel Processing Building 2, a nuclear waste storage facility built by French nuclear company Areva in 2007. After a significant part of the storage structure had been built, it was found that there was a major design error in the facility, rendering the building inoperable. It is still awaiting completion. Bio

Renata Buziak, Ipomoea pes-caprae, from Medicinal Plant Cycles, Ipomea pes-caprae, time-lapse stills 2014

Renata’s recent PhD studio research at the Queensland College of Art (QCA) Griffith University, focused on local Australian healing plants significant to the Quandamooka Peoples of Minjerribah/North Stradbroke Island. This research aims to increase awareness of selected plants’ remedial and cultural significance, emphasises the importance of the protocols involved in working with Aboriginal and Torres Strait Islander communities, the respectful treatment of cultural property, and the productive outcomes of sharing stories; local stories in a global context.

Medicinal Plant Cycles time-lapse videos of healing plants from Minjerribah (North Stradbroke Island) are created by the biochrome process based on fusion of organic and photographic materials. The videos present the blossoming and movement of fungi and microbes by allowing the plants to transform through the bacterial micro-organic activities that are part of cyclic decay and regeneration. The work refers to plant cycles, cycles of decay and renewal, the cycle of passing on knowledge, the cycle of time, seasons, and the constant flux of natural processes.

Medicinal Plant Cycles draws on natural science, experimental photographic processes, and extensive consultations and discussions with members of the Quandamooka community of Minjerribah. Through this work, Renata hopes to reveal a beauty in decomposition and raise notions of transformative cycles. This focus on Minjerribah medicinal plants aims to promote the recognition, appreciation, and value of local medicinal plants in the context of Aboriginal knowledge and natural science. Bio

See video here

@san_kaido, Fukushima Daisy, 2015, C print, 13 x 18 cm

Following the second biggest nuclear disaster in history, at the Fukushima Daiichi nuclear power plant in 2011, Twitter user @san_kaido posted a photograph of mutated daisies growing in the region. Though the cause of the mutation was never confirmed, the image has circulated widely online as people seek to understand the consequences of the spread of radioactivity in Japan.

Dornith Doherty, Millennium Seed Bank Research Seedlings and Lochner-Stuppy Test Garden No. 1, No. 3, & No. 4, 2011, digital chromogenic lenticular photographs, each 200 x 91.5cm

dornith-doherty-millennium-seed-bank-research-01-2Since 2008 Dornith Doherty has worked in an ongoing collaboration with renowned biologists the most comprehensive international seed banks in the world: the United States Department of Agriculture, Agricultural Research Service’s National Center for Genetic Resources Preservation in Colorado, the Millennium Seed Bank, Royal Botanic Gardens, Kew in England; and PlantBank, Threatened Flora Centre, and Kings Park Botanic Gardens in Australia.  In this era of climate change and declining biodiversity, by collecting, researching seed biology, and storing seeds in secure vaults, seed banks play a vital role in ensuring the survival of genetic diversity in wild and agricultural species.

Utilising the archives’ on-site x-ray equipment that is routinely used for viability assessments of accessioned seeds, Doherty documents and subsequently collages the seeds and tissue samples stored in these crucial collections. The amazing visual power of magnified x-ray images, which springs from the technology’s ability to record what is invisible to the human eye, illuminates her considerations not only of the complex philosophical, anthropological, and ecological issues surrounding the role of science and human agency in relation to gene banking, but also of the poetic questions about life and time on a macro and micro scale.

Use of the colour delft/indigo blue evokes references not only to the process of cryogenic preservation, central to the methodology of saving seeds, but also to the intersection of east and west, trade, cultural exchange, and migration. Lenticular animations created from the collages present still-life images of an archive that appears to change colour or move when viewed from different angles. This tension between stillness and change reflects Dornith’s focus on the elusive goal of stopping time in relation to living materials, which at some moment, we may all like to do. Bio

Anais Tondeur, Chernobyl’s Herbarium, 2011-16. Location: Exclusion Zone, Chernobyl, Ukraine; Radiation level: 1.7 Microsieverts per hour. 30 Rayograms, giclee print on rag paper, each 24 x 36cm

linumchernobylherbarium6-2On Saturday, April 26th, 1986, at 1:23:58 a.m. local time, a test in Chernobyl nuclear plant took a disastrous turn. The core of reactor No.4 exploded, emitting a plume of radioactive fallout into the atmosphere and drifted across the then Western Soviet Union and Europe. Twenty-nine years after the accident, the thirty kilometers of exclusion zone surrounding Chernobyl nuclear plant is now being re-opened and reveals itself as a place for opulent wildlife.

The Herbarium of specimens from the exclusion zone is based on the research undertaken on plant genetics by Martin Hajduch in the Institute of Plant Genetics and Biotechnology at Slovak Academy of Sciences. He looks at traumas endured by the flora in these areas of high radiation holding a particular interest in the Lineacea specie. Seeds of this specie have been planted in the irradiated dirt near the meltdown site to test the impact of the radiation on the flora.

The imprints of the specimens are caught through a photogram process, a technique that mirrors the effect of the extreme exposure of light that the atomic bomb emits on an explosion, evident in the imprinted shadows left on the land after the 1945 Hiroshima and Nagasaki. The photogram technique uses light as a source to record and archive trauma on the specie just as the atomic explosions have illuminated and scarred the mind. With this series of plant imprints, Tondeur interrogates the scars of a tragedy, the traces of an invisible substance. Bio

Janet Laurence, Resuscitation Garden (for an ailing plant), 2011, digital video, 5:35 mins

screen-shot-2016-09-14-at-9-31-10-pmThe Resuscitation Garden is a medicinal garden that plays between the clinical and the romantic. It creates a space of interconnection and care suggesting a hospital or intensive care unit for plants. A transparent mesh structure echoing a botanical glasshouse and a museological scientific vitrine, filled with both medicinal plants for their healing as well as ailing and dead plants (representing our threatened planet). All are inter connected to medicinal equipment and laboratory scientific vessels, various fluids and solids, creating a space of revival and resuscitation. The work amplifies and imagines the invisible processes and psychological state of plants as indicators of the well-being of our planet. We are confronted with their being and plight in which we are so interconnected and dependent.

The work clearly addresses environmental sustainability, fragility and the need for awareness and healing. Collapsing science into a poetical and play that poses the possibility of art as a healing medium. At the same time within this crowded context, a tiny sanctuary invites entry wonder and participation. Bio

See video here

Melanie Bonajo Night Soil / Fake Paradise, from Matrix Botanics, digital video, 2015, 12:00 mins

screen-shot-2016-09-14-at-9-37-35-pmCan ayahuasca, a psychedelic brew of various plant extracts, have the same significance for our day as LSD had for the 1960s? The ‘medicine’ has its roots in an indigenous Amazon tradition, but the mind-expanding drink is presently used all over the world. People prize the mental vistas that are opened up by ayahuasca, the ‘vine of the soul’. The drink is consumed during a (group) ceremony, often under the guidance of a shaman. Music enhances the communal and personal experience, and influences the mental trip. It is the ritual around it that contributes to the meaning of the spiritual experience. Different variants of this ritual occur in different cultures.

Melanie Bonajo asks how citizens could influence this ritual. What can we learn from plants? How can we care for our society? The video contains personal stories and devotes special attention to the feminine voice that traditionally has been neglected in psychedelic research and popular culture. Bio

See video here

Joe Hamilton, Indirect Flights, 2015, interactive collage website

screen-shot-2016-09-14-at-9-50-23-pmOver the course of a year, Melbourne-based visual artist Joe Hamilton built a digital work called Indirect Flights, which grew out of a three-month residency with The Moving Museum, a roving art residency and group exhibition platform. The project, which fashions parallels between geographical and digital topographies, began in 2014 when Hamilton spent several months criss-crossing various landscapes in Europe, Asia, and the Middle East.

Hamilton recorded his own visual material during his travels and combined it with collected found imagery he discovered online. Working from these raw materials, he began crafting various digital collage works. For the latest iteration of Indirect Flights, Hamilton takes his meticulously layered collage work online as an interactive artwork. Similar to his Hyper Geography (2011) and Regular Division (2014) videos, Hamilton fashions a digital layer cake of satellite images, photographs, organic textures such as brushstrokes, and raw materials like rocks and chain link fence, forming it into an endless, navigable loop with something close to three-dimensionality.

This illusion of depth is helped along because Hamilton makes the layers move at different speeds through the parallax scrolling effect. All of this is then set to J.G. Biberkopf’s sound design, which features sonic textures from jet engines to in-flight announcement bells, footsteps, rain, fire and what sound like video games and various analogue and digital machines. Bio

See the project here

We would like to thank the following sponsors for their generous support, without which this exhibition wouldn’t be possible: Bay Photo (San Francisco), Emergent Designs (Sydney), Civic Pro Frame (Canberra), Instyle Plant Hire (Canberra), and Hotel Kurrajong (Canberra).

Photo Independent – Los Angeles


Bridget Batch, Owens Lake Performance no. 1

Photo Independent
Raleigh Studios Hollywood
5300 Melrose Avenue
Hollywood, CA 90038

Booth #W06 in Stage 14

Opening night party Friday, April 29, 7-10pm
Saturday, April 30, 11am–7pm
Sunday, May 1, 11am–6pm

by LA Photography Diary | Hemera Collective

LA NOW: Bridget Batch, Heyward Hart, Colin Patrick Smith, Ilona Szwarc

Celebrating the rise of dynamic contemporary photographic practices in the greater Los Angeles area, LA Photography Diary and Hemera Collective showcase selected works and the distinctive voices of notable artists to watch.

The LA Photography Diary (, a new addition to the already successful New York, London, and Berlin Photography Diary websites, pairs the latest exhibition and event listings with relevant criticism, promoting the diverse photography scenes within each of these major art metropolises. The Photography Diary(s) are published by Hemera Collective, a London-based curatorial collective specializing in photography exhibitions and research world-wide. The LA Photography Diary editors are Ann Harezlak and Rachel Zimmerman.

batch_bridget_owens_lake_performance_01_640_2x Bridget Batch – Located at sites of geologic and social transformation, the photographs of the Glow Performance series are records of performances in which Batch traces unseen boundaries with a light for up to an hour, all the while dancing or walking, seemingly endlessly redoing her steps. The boundaries she draws during her performance represent the lines between the human-made and the natural-made, investigating the idea of the Anthropocene or the era of humans changing the planet on a truly global scale. These mass activities by humans have completely altered the face of the planet and nature from what it was before humanity.

In the Owens Lake images from the series, Batch photographs within the nearly-dry lakebed of what was, until 100 years ago, a thriving lake and forest ecosystem perched in the arid rain shadow of the Eastern Sierra Nevada mountains. Now, damp and saline and coated with a skim of 5% of its previous acreage of water, the rest is siphoned off to quench the thirst of Angelenos. The photograph exists as an expanse of time, of movement and as evidence of a presence that would otherwise be invisible. Documenting but also addressing issues of place, the body and human impact upon the earth.

Bridget received her MFA in Photography from CalArts and BFA in Photography, magna cum laude, at University of Houston. She has exhibited internationally with solo exhibitions including: Halcyon in New York; Galleria Traghetto in Venice, Italy; Gallery D301, Valencia, CA. Group exhibitions including: Institute of Contemporary Arts, Singapore; Headlands Center for the Arts, Sausalito, CA; 356 Mission, Los Angeles, CA; The Re-Institute, New York. Published in Hyperallergic, Ventana Monthly and ArtSlant, Batch has been awarded two merit Scholarships at CalArts and Tropical Lab in Singapore. She was awarded residencies in Canada (Klondike Institute of Arts & Culture), Arizona (Grand Canyon South Rim Program), Iceland (Herhúsið), New York (Salem Art Works), Italy (FABRICA). Batch lives and works in Los Angeles, CA.

charis_Heyward hart_20x30 Heyward Hart graduated with his MFA in Photography from Yale University (2011) and was granted the Richard Benson Prize as well as the Massachusetts Cultural Council Artist Fellowship. He has shown at PØST, CA; 950 Hart Gallery, NY; Aviary Gallery, MA; Current Space, MD and The Basement Gallery, TN. Solo exhibitions include: Graham Student Union, NC; Public Library of Brookline, MA and Hanes Art Center, NC. Hart lives and works in Los Angeles, CA.

His work, Charis Variations, is part of an ongoing investigation into the relationship between image, history, language, and form. For Charis Variations he photographed three different subjects which happened to share the same name: a negative depicting Weston’s famous muse, Weston’s grandson’s cat, and my hairdresser. The formal approach varies in each image while the subject, nominally speaking, remains the same.

Colin_plant_24x30 Colin Patrick Smith deconstructs formal sensitivities, regarding elemental subjects as object within latent references and glancing realizations. Smith (MFA Photography from Yale University, BFA Columbia College Chicago) was presented with the Ward Cheney Memorial Award for outstanding achievement in composition while at Yale University (2009). Published in Searching for the Light and SOMA, Smith’s work has been featured in exhibitions across the United States including: Capricious Gallery in Brooklyn, NY; Gallery 339 in Philadelphia, PA and the Eighth Veil in Los Angeles, CA. He has also shown in exhibitions Arrive and Likewise Depart (2014), The Nature of Painting and Photography (2015), and The Promise of Something and Nothing (2015) at Sonce Alexander Gallery, Los Angeles. Smith lives and works in Los Angeles, CA.

Szwarc_Ilona_Book_2 Ilona Szwarc– “This process of becoming can appear obscure and haunting, the gestures violent and aggressive, a primitive act of mark­making. Through my experiments, I have found that becoming is a process of elimination, a construction that moves progressively towards a void, an erasure of meaning. At first, I would observe myself in the eyes of the double, an act of mimicry that mirrored myself back to me, all the intricate details of how I embody and occupy myself. Now, I imagine myself in a space of emptiness.” — Ilona Szwarc

Szwarc received an MFA in Photography from Yale University in New Haven, Conn. and a BFA from School of Visual Arts in New York City. She has had solo exhibitions at Foley Gallery in New York City, Claude Samuel in Paris, France, Amerika Haus in Munich, Germany, and Maison de la Photographie in Lille, France. Her work has been shown in group shows internationally – in London, Bilbao, Warsaw, Lodz, Chicago, and most recently at Regen Projects in Los Angeles and Danziger Gallery in New York. Szwarc has been awarded Richard Benson Prize for Excellence in Photography (2015), Arnold Newman Prize for New Directions in Photographic Portraiture (2014), World Press Photo (2013). In 2014, she received Alice Kimball Traveling Fellowship from Yale University. Szwarc’s photographs have been featured in numerous publications worldwide including The New York Times Magazine, The New Yorker, TIME, The UK Sunday Times Magazine, The Telegraph Magazine. Szwarc lives and works in Los Angeles, California.