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Group Show 70: Under the Sun and the Moon Group Show 69: Photo for Non-Majors (part 2) Group Show 69: Photo for Non-Majors (part 1) Group Show 68: Four Degrees Group Show 67: Embracing Stillness Group Show 66: La Frontera Group Show 65: Two Way Lens Group Show 64: Tropes Gone Wild Group Show 63: Love, Actually Group Show 62: 100% Fun Group Show 61: Loss Group Show 60: Winter Pictures Group Show 59: Numerology Group Show 58: On Death Group Show 57: New Psychedelics Group Show 56: Source Material Group Show 55: Year in Reverse Group show 54: Seeing Sound Group Show 53: On Beauty Group Show 52: Alternative Facts Group Show 51: Future Isms Group Show 50: 'Roid Rage Group Show 48: Winter Pictures Group Show 47: Space Jamz group show 46: F*cked Up group show 45: New Jack City group show 44: Radical Color group show 43: TMWT group show 42: Occultisms group show 41: New Cats in Art Photography group show 40: #Latergram group show 39: Tough Turf P. 2/2 group show 39: Tough Turf P. 1/2

Humble Arts Foundation

New Photography
Stories and interviews
Submit
Info
Subscribe About Contact The Team
Online Exhibitions
Group Show 70: Under the Sun and the Moon Group Show 69: Photo for Non-Majors (part 2) Group Show 69: Photo for Non-Majors (part 1) Group Show 68: Four Degrees Group Show 67: Embracing Stillness Group Show 66: La Frontera Group Show 65: Two Way Lens Group Show 64: Tropes Gone Wild Group Show 63: Love, Actually Group Show 62: 100% Fun Group Show 61: Loss Group Show 60: Winter Pictures Group Show 59: Numerology Group Show 58: On Death Group Show 57: New Psychedelics Group Show 56: Source Material Group Show 55: Year in Reverse Group show 54: Seeing Sound Group Show 53: On Beauty Group Show 52: Alternative Facts Group Show 51: Future Isms Group Show 50: 'Roid Rage Group Show 48: Winter Pictures Group Show 47: Space Jamz group show 46: F*cked Up group show 45: New Jack City group show 44: Radical Color group show 43: TMWT group show 42: Occultisms group show 41: New Cats in Art Photography group show 40: #Latergram group show 39: Tough Turf P. 2/2 group show 39: Tough Turf P. 1/2
Sterile, Wounds Need Air, 2020. © Camilla Jerome

Sterile, Wounds Need Air, 2020. © Camilla Jerome

Visualizing the Discomfort in Unseen Disabilities

Camilla Jerome has lived with multiple chronic illnesses, most of which were un- or misdiagnosed, for 15 years. At 30 years old, that’s half of her lifespan. For nearly a decade, she’s used photography and video to process and better understand these experiences.

“It’s all in your head” or “It’s not that bad” and other dismissive phrases are familiar to the RISD MFA candidate. This kind of medical gaslighting has been reported on with greater frequency, but the trouble persists. To comfort herself, Camilla Jerome has cultivated numerous creative projects that convey both her struggles with institutionalized medicine and the personal victory she finds in trusting her pain response.

I am particularly moved by the image Sterile. Though the title refers to Jerome’s experimental attenuated bleach wash that renders the print’s surface brittle and vulnerable, it abstractly calls up the social and personal struggles and alienation many women navigate related to reproductive health. The image is part of her series Wounds Need Air – a quiet, gut-punch paean to survival.

Following our conversation during Filter Photo Festival’s early February virtual student portfolio review, Camilla and I reconnected to discuss her work and the experiences that inform it. We dig deeper into her thesis work, talking about making invisible disabilities visible, and the necessity of self-advocacy.

Roula Seikaly in conversation with Camilla Jerome

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PostedMarch 23, 2021
AuthorRoula Seikaly
CategoriesArtists, interviews, Portfolio
TagsCamilla Anne Jerome, photography and mental health, self-portraiture, process-based photography, photographers working with video, Wounds Need Air series, photography and self-care, Roula Seikaly, new photography, interviews with photographers, photographer conversations, Camilla Jerome
© Sameer Raichur

© Sameer Raichur

One Photographer’s Portrait of Social Isolation in Bangalore India

Sameer Raichur’s diaristic photographs of life during quarantine find new meaning in the everyday.

In May 2020, Sameer Raichur's photo of a backlit and silhouetted figure standing between a floral curtain and a window stopped me in my daily, quarantined Instagram doom scroll. The curtain, billowed by a breeze, seemed inhabited by a ghost. It’s the type of dark, whispy photo that Instagram’s algorithm loves, but goes beyond a tropey reference to the obvious existential metaphors one might associate with Kevin Spacey’s film “American Beauty,” and into something more authentically self-reflective. Tenderness, fear, isolation, and so many more emotions neatly – but not too neatly - rolled into a single photograph.

Raichur's caption reflects the image's vulnerability, uncertainty, and softness. “Life seems to have settled into a rhythm during lockdown. A usual day involves visiting the same spots in the house and at particular times, chasing the light,” the photographer notes. For Raichur, it became an ongoing struggle against meaninglessness, a celebration of the moments that might not have registered in previous times.
“Checking on pigeons hanging out on the edges of our windows,” Raichur writes, “watching my curtain blowing in the wind and endless staring out of balconies and windows, praying for the unexpected.”

This is but one image in a series that illustrates Raichur’s often hallucinatory visual response to isolation. It brought up childhood memories, reexaminations of family life, and newfound pleasures in the simple joys he might not have appreciated otherwise. Nearly a year into lockdown, I connected with Raichur to learn more about how he uses photography to cope and stay balanced.

Jon Feinstein in conversation with Sameer Raichur

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PostedMarch 2, 2021
AuthorJon Feinstein
CategoriesArtists, interviews
TagsSameer Raichur, quarantine in India, Covid photography, introspective photography, self-portraiture, new photography, photography and social isolation, photography about stillness
© ChrisSoFly

© ChrisSoFly

These Self-Portraits Show That Boys Can Be Princesses Too

ChrisSoFly’s self-portraits celebrate his love for fashion, music, and awakening from rigid gender roles.

Growing up, the Sanford, Florida-based multidisciplinary artist never imagined he’d feel comfortable wearing dresses, wigs, and makeup, and sharing photos of himself with the world. “Once I finally put my own fear of judgment aside and became comfortable in my own skin and started dressing how I wanted and expressing myself freely,” Chris writes, “ I realized that this may be my purpose….showing that boys can be princesses too.”

In his self-portraits, which he shares predominantly on Instagram – often with tens of thousands of likes and hundreds of comments – Chris unapologetically and joyfully confronts the camera with bedazzled glory.
The series started earlier this year when Chris began designing fashion pieces while teaching himself to sew through Youtube videos. His creations manifest themselves as pastel dresses, flowers in his hair, posing before floral backdrops that highlight his exuberance and power. I spoke with Chris to learn more about his experience and work.

I spoke with Chris to learn more about his experience and work.

Jon Feinstein in conversation with ChrisSoFly

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PostedDecember 3, 2020
AuthorJon Feinstein
CategoriesArtists, Portfolio
TagsChrisSoFly, self-portraiture, collaborative portraiture, fashion photography, multi-disciplinary artists, toxic masculinity, queer identity and photography, new photography, contemporary portraiture
Influencer, 2019 © Sage Szkabarnicki-Stuart

Influencer, 2019 © Sage Szkabarnicki-Stuart

There's More Than Just "Whoa" to Sage Szkabarnicki-Stuart's Wild (and sometimes uncomfortable) Self-Portraits

For the past few years, I've jokingly referred to a new, (entirely made-up) genre of punchy, immediately gratifying photos as "woah-tography." While these thousand-points-of-punctum, far-from-subtle photographs hit viewers at first glance, there's miles of complexity below the surface, especially in the work of Toronto-based photographer Sage Szkabarnicki-Stuart. Sage's photographs address critical issues related to human impact on the environment with a fun, surreal approach – keeping questions open without leading a specific answer or conclusion.

Sage's work first caught my eye on Instagram in 2017 – a self-portrait of the artist, clothed in kale, tomatoes, and eight baguettes while surrounded by 8 raccoons captioned "Follow Your Dreams." Since then, I've been drawn to her wildly playful, often elaborately staged images that call to mind photographers like Cindy Sherman, Sandy Skoglund, and Gregory Crewdson with new energy and imagination. In another image, "Urban Bath, 2018," Sage wades in a deep blue pond, covered in plastic spoons between two swans who seem unaware of her existence (I recently learned that Sage spent several days visiting the swans to gain their trust in participating in the self-portrait.)

The artist, only recently out of school is riding a wave of successes – The Magenta Foundation included her in their esteemed "Flash Forward" annual for 2019 and she was shortlisted for the 2020 PDN 30 (before the magazine sadly closed), and she recently published her first photobook Outside Inside, which you can get HERE. I spoke with Sage to learn more about her ideas and the process behind her wildly exciting work.

Jon Feinstein in conversation with Sage Szkabarnicki-Stuart

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PostedFebruary 20, 2020
AuthorJon Feinstein
CategoriesArtists, Portfolio
TagsSage Szkabarnicki-Stuart, self portrait photographers, self-portraiture, photographic self-portraiture, Magenta Flash Forward, PDN30 2020

Founded in 2005, Humble Arts Foundation is dedicated to supporting and promoting new art photography.