Photo Credit: Anne Tapler White

Photo Credit: Anne Tapler White

Photo Credit: Sebastian Jarmula

Photo Credit: Sebastian Jarmula

artpoint Gallery & studios

February 2 - 25
Opening Reception February 2, 5:00 PM

Anne Tapler White
Red Earth in Black and White

This exhibition documents the people living in West Africa from Accra in Ghana to Dakar in Senegal and concludes a three year fascination that covered West Africa from Benin to Senegal. My travels through West Africa, have exposed me to the ways in which this area is so diverse in its people. As I travel, I find it very important to document how people live and how they spend their days; bringing to the viewer a sense of place. My photographs portray both a sensitivity to the people and their environment. Photography is about capturing a fleeting moment, a moment that quickly disappears. It gives permanence to my recollections of a busy market place or the peaceful quiet of a small village. It is about the uniqueness of a subject whether it is of a place or a portrait of a person and being able to capture their special quality. I find the black and white image simplifies a subject and draws out the essence of a moment.

Sebastian Jarmula
I Am So Emulsional

I Am So Emulsional is a collection of photographic images that seeks to distort preconceptions of proper aesthetics. This series was shot completely on 35mm film and contaminated prior to development by a variety of liquids in the aim to distort the final result. The purpose of this experimental method was to skew familiar images of summer and manipulate recognizable physical attributes of the city of Calgary.

In our mind’s eye, we have a particular way of imagining how our summer ought to look; heavily saturated flowers, shimmering downtown skylines, idyllic fields for playing sports. To what extent could this be warped until our recognition of such given iconography changes our feelings towards them? How bad does a sun burn have to be until we cannot tell it is skin we are looking at? The pieces selected for the series are chosen as highlights to demonstrate the alchemy of sabotage. Alongside the acid burn summer commentary, I Am So Emulsional also incorporates images of death and decay; thematic motifs that validate the (anti)-aesthetic. Things inevitably break down, and this series will demonstrate the destruction of beauty. Or is it vice versa?