Utilizing her body movements, Heather Hansen creates breathtaking, large scale charcoal paintings. In 2012 she began experimenting with kinetic drawing and has been searching for ways to combine her passion for visual art and dance. The idea for the series ‘Emptied Gestures’ was sparked on a trip to the beach.
Whilst dancing on the beach she noticed that the lines carved in the sand by her turns had an interesting quality. She explains her work as follows: ‘Emptied Gestures is an experiment in kinetic drawing. In this series, I am searching for ways to download my movement directly onto paper, emptying gestures from one form to another and creating something new in the process.’
Photographer Nicholas Alan Cope and creative director Dustin Edward Arnold have come to be known as a groundbreaking duo within the visual arts world. Both with wide-ranging backgrounds in photography and design, they originally met through a commercial project in 2007 and began their first collaboration in 2009 when they formed the artistic partnership known as Cope/Arnold. They decided to join forces due to a mutual desire to go beyond the commonplace and take photography to places it had never been before. ”We have a classical approach to making work”, they point out, where ”there’s a lot of planning, a lot of preparation”.
Their approach to image creation, however classical, still manages to break the confines of conventional photography. Each working beyond their respective discipline, they inventively combine the mediums of painting, chemistry, sculpture, fashion and installation as a part of their image-making process, without being afraid to constantly evolve and experiment with new approaches and techniques that they have never tried before.
“When Geissler & Sann moved to Chicago from Germany in early 2008, the current economic crisis was well under way. The percentage of the nation’s homes that were vacant and for sale or rent was at historic highs. Foreclosure rates were rising, while home prices, which had begun to fall in 2006, continued to plummet. Nationwide, the number of homes that have been foreclosed over the past four years is estimated at more than six million. Many of these homes remain empty; most of them represent a family or person that has been displaced.
[The artists] felt a need to react to the situation and began photographing foreclosed properties all over Chicago, ranging from homes worth a few thousand dollars to 3.5 million–dollar mansions. They did not set out to create a social documentary project. Instead, they were interested in probing the concepts of home and ownership. Feeling somewhat displaced themselves as new arrivals to the United States, they began to reflect more deeply on what it means to be uprooted, and to explore the link between familiarity and feeling at home.
The idea of the ‘real’ in relation to photographs is paradoxical, since photographs are illusions, far removed from the actual things they depict. Geissler & Sann’s installation strategy suggests that one location runs into the next, and in this way it discourages our fixation on one place, and by extension, one story. Indeed, the story is universal, provoking anxiety not only in those people who have lost their homes, but in anyone who can imagine how painful it would be to lose one, or who fears being next in line for displacement, thus reminding us that the very idea of ownership is tenuous and elusive, and that life is disturbingly unpredictable.”