“Winged Synchronicity”

I am excited to share that Kaden and I will exhibit together concurrent with “Remnants” (09/10-10/4/2016)! Many thanks to Michael Granger of LightBox Photographic for the invitation.

WINGED SYNCHRONICITY 

Winged Synchronicity features contemporary photographic works by Kaden Kratzer and Nadezda Nikolova-Kratzer rendered in antiquarian processes, including wet plate collodion and albumen printing. As partners in art and life, Kaden and Nadezda share a visual aesthetic and an ongoing curiosity with cicadae, dragonflies, and other winged insects.

Mysterious and able to move between earth, water and air, flying insects have inspired fables, myths and symbolic interpretation since ancient times. They conjure up universal themes of change and self-realization, spiritual transformation and enlightenment, lifecycles and immortality… This body of work is partly an intuitive reaction to beautiful and beautifully grotesque natural forms and partly an intentional reference to symbols. The photogram technique and the antiquarian substrates serve to deepen the aura of metaphor and otherworldliness that envelops these liminal creatures.

Peculiarly, some of these images were created in disparate times and places, before Kaden and Nadezda knew each other or of each other’s art. It is only fitting that their debut as an art duo celebrates this seemingly meaningful coincidence – a winged synchronicity of sort.

Creating Photograms with Wet Plate Collodion Workshop

I am pleased to offer a workshop on creating wet plate collodion photograms during the opening weekend of “Remnants” at LightBox Photographic Fine Art & Printing (Astoria, OR).

Click here for more information.

Creating Photograms with Wet Plate Collodion

Date: September 10/11 (Sat. & Sunday)
Time: 10:00am-5:00pm
Price: $350.00
Instructor: Nadezda Nikolova-Kratzer

Not to exceed 5 participants

From Henry Fox Talbot and Anna Atkins, to Man Ray, Jayne Hinds Bidaut and Adam Fuss, photographers have readily skirted the lens in their own respective pursuits of knowledge, ideas, poetry and metaphor. The field of photography has been greatly enriched by the photogenic drawing, inviting the viewer to interpolate from the shadows in search for the elusive spirit of the arrested form.

The photogenic drawing — or photogram — is made by placing objects on a light-sensitized surface which is exposed to light to produce an image. In this two day workshop the particpiant will learn about the 19th century wet plate collodion process and delve deep into the history of photography to explore lens-less image creation. We will learn the basics of wet plate collodion, including formulas and chemistry, and walk through the steps of creating direct wet plate photograms. Each participant will have the opportunity to make their own wet plate photograms and to explore the medium’s responsiveness to individualized expression.

Open to all skill levels, although some background in the darkroom and basic understanding of photography is desired.

Contact michael@lightbox-photogaphic.com with interest in this workshop

“Remnants”

Kaden and I are pleased to jury an exhibit at LightBox Photographic Fine Art & Printing (Astoria, OR).

Click here for more information.

Remnants
ON THE EDGE OF AVANT-GARDE AND ANTIQUARIAN PHOTOGRAPHY
September 10th – October 6th, 2016

Submission Deadline – Sunday, July 31, 2016

LightBox Photographic Gallery is pleased to announce the call for submissions for Remnants.

In Remnants, we wish to feature and exhibit original images and image objects crafted using a variety of processes from the dawn of photography. As photography moves forward in the 21st century and advances with modern technology, some artists have intentionally chosen to return to the roots of photography, incorporating antiquarian processes to further their artistic expression. These one-of-a-kind, labor intensive art pieces developed into a distinctive sub category, where art and process became intrinsically connected and in many instances inseparable. Many of these early processes involve archaic and often dangerous chemistry as well as surfaces such as metal and glass. This combination of alchemy and physicality allows the viewer to not only respond to the image itself, but also to the qualities of the particular process, it being an integral part of the piece. We seek to exhibit original images and image objects crafted using processes from the past, while looking to the future: Remnants!

Jurors

We are very pleased to have Nadezda Nikolova-Kratzer and Kaden Kratzer as jurors for Remnants.

Nikolova and Kratzer are modern day alchemists practicing heliograph processes of the 19th Century and the handcrafting of unique image-objects. They live in the Bay Area of California.

Nadezda Nikolova-Kratzer crafts lens-less photogenic drawings (photograms) on metal and glass and also works with large-format cameras and period lenses to create tintypes and ambrotypes. In addition to being featured in various publications, including Oxford American, her work has been shown nationally and internationally and recognized with awards.

Kaden Kratzer took up photography after advanced studies in film production. In the tradition of old day alchemists, he is interested in antiquarian and obscure photographic processes of the 19th century. He studied photography in a variety of venues, including Stanford University, KALA Berkeley Art Institute, Rayko Photo Center, F295, and the George Eastman Museum. Kaden has exhibited nationally and internationally and his artwork has been recognized with awards. His work has been featured in a variety of publications, including Guide to Photographic Alternative Processes: Popular Historic and Contemporary Techniques by Jill Enfield. Kaden has been dedicated to building a community around contemporary avant-garde use of antiquarian processes and supporting artists.

Artist Talk & Workshop

Creating Photograms with Wet Plate Collodion

We will be featuring Kaden and Nadezda at LightBox for an artists talk by Kaden on Friday night and a workshop, Creating Photograms with Wet Plate Collodion, with instructor Nadezda Nikolova, during the opening weekend of the exhibit.

 

 

“CIRCE’S LAMENT: Anthology of Wild Women Poetry”

I am honored that one of my images was chosen for the cover of CIRCE’S LAMENT: Anthology of Wild Women Poetry, edited by Bianca Lynne Spriggs and Katerina Stoykova-Klemer. The tintype was originally taken featuring visual artist Kate Hadfield for The Good Gray Project, the inaugural collaborative project from the The Imaginarium of the Bluegrass.

circles's lament