[ad_1]
By Svetlana Popova
Contemporary landscape photography is a vast and ever-evolving field, encompassing natural vistas, urban panoramas, underwater scenes, celestial phenomena, and much more. Photographers in this genre are free to convey a wide range of artistic messages, from environmental and socially critical themes to spiritual or deconstructionist perspectives.
The challenge today is not only to present technically flawless photographs but to pair them with sincere and meticulously developed conceptual or philosophical approaches. In this article, I will highlight two remarkable works by photographers who are shaping new trends, approaches, and visions in contemporary landscape photography.
“Piece of God” by Artem Skripnikov
Artem Skripnikov’s Piece of God presents a moody sky over a desolate expanse of water, pierced by light from a sun either rising or setting, revealing—or perhaps concealing—a brief glimpse of serene blue sky. This complex and paradoxical photograph, recently showcased at the Echoes of Fall Second Exhibition in New York’s Awita New York Studio gallery, encapsulates the core of Skripnikov’s creative philosophy.
His work often focuses on the tension between the natural world and human absence. Most of his photographs feature no human presence—no people, no buildings, no objects—leaving the elements and natural phenomena as the sole protagonists.
In contrast to this minimalist approach, Skripnikov often employs cultural and religious references in his titles and artist statements. His work thus affirms and denies the connection between the human world and the untouched natural world. In Piece of God, light may symbolize divine presence, but it is captured by an artist who deliberately omits all human influence from the scene.
Skripnikov assumes the role of a mediator between a world that exists independently of us and a world that constantly seeks to name, catalogue, and assign meaning to spaces untouched by human hands. This delicate and poignant concept draws viewers in with a disarming emotional depth.
“Blue Harbour” by Maria Yanovskaya
Maria Yanovskaya’s Blue Harbour takes a different approach, engaging directly with the human presence in natural landscapes. Her works often feature watercraft, unusual buildings, unexpected perspectives, and subtle plays of light and shadow. Despite the seemingly pastoral and calming aura of her imagery, Yanovskaya subverts viewer expectations through optical illusions and perspectives that challenge perception.
In Blue Harbour, numerous boats are photographed at such an angle that they appear both as debris polluting the water’s surface and as small toys left behind by children. This ambiguity in the depiction of human objects reflects Yanovskaya’s deeper artistic intent: to explore the multifaceted nature of human presence. Her photographs suggest that humanity’s trace is not singular but rather open to multiple interpretations.
This optimistic vision stands out in an era often characterized by themes of cruelty, depression, and despair. Through her work, Yanovskaya offers a more humanistic perspective, hinting at redemption and possibility for a world that has, in many ways, discredited itself. Her photographs speak to essential values, contributing to the rehumanization of the global aesthetic landscape.
Also Read
Breaking Down Elements Behind Sascha Fonseca’s Award-Winning Wildlife Photo “World of the Snow Leopard”
Sponsored content. Story submitted by Irina Evseenko. The World Art News (WAN) is not liable for the content of this publication. All statements and views expressed herein are opinions only. Act at your own risk. No part of this publication may be reproduced without written permission. © The World Art News
Discover more from World Art News
Subscribe to get the latest posts sent to your email.
Categories: Europe, Exhibitions, North America, Opinion, Photography
[ad_2]
Source link