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Portfolio Christine Simpson ARTDOC Artdoc Magazine #2 | 2020 Japanese Garden Sebastião Salgado Naohiro Ninomiya Wendi Schneider Tribute to the earth Whisperings of nature Trees of transcendence Artdoc Photo Magazine #2 | 2020 ARTDOC Content Portfolio Wendi Schneider 6. Trees of grace and transcendence © Dillon Marsh | 62.15 cubic meters Christine Simpson 25. Earth Matters, more than ever Sebastião Salgado 58. Tribute to the earth Naohiro Ninomiya 70. Whisperings of nature © Naohiro Ninomiya | Taki Dillon Marsh 88. The visualization of the volume of melting ice Photo Culture The Photograph as Metaphor 36. Does a photograph show the reality? Or does it show the emotions the photographer wants to show? © Wendi Schneider | Cypress, 2017 Inspiration Ali Shokri 18. Passion for trees Annette Wijdeveld 50. Dialogue with Silence Jennifer Graham 82. Impermanence, Transience and Mutability Photo Books 42. Japanese Garden 44. Highlights of Artdoc Photo Exhibition © Christine Simpson | Disenchantment 2 © Sebastião Salgado/Amazonas Images ARTDOC From the Editors Dear Reader, In this issue, we bring you a mix of nature photography and philosophical writing. Trees are silent protagonists in the work of “Does a photograph Wendi Schneider. In an intuitive way, the American photographer creates visual poetry with images of branches and trees. In a similar but different way, Iranian photographer Ali Shokri depicts show reality? Or the serene beauty of trees as mirrors of humanity. And Christine Simpson surprises us with a composite of diverse natural elements above and under the water, showing the lush and vulnerable world of plants, birds and fishes. does it reveal the In our group exhibition Japanese Garden, we bring you a wide variety of photographers from all over the world around the theme of reflection and tranquillity of nature. emotions the Who does not know the epic project Genesis of Sebastião Salgado, in which he photographed untouched nature around the globe? We show you some photos of his book and exhibition Genesis that attracted more visitors than the historical Family of Man. photographer You might say that all these photographers show the real world in a transparent way, but in fact, most of the photographs have a metaphorical meaning. Does a photograph show reality? Or does it reveal the emotions the photographer intends to show? intends to show? In an in-depth article, we bring you the theory of the photograph - The Artdoc Team as a metaphor—a good read when you want to deploy your own photography in a metaphorical way. - The Artdoc Team Editor’s Note 4 © Wendi Schneider | Crescent and Crow, 2018 ARTDOC Trees of grace and transcendence Wendi Schneider Trees are silent protagonists in the work of Wendi Schneider, which is rooted in the serenity she finds in the sinuous elegance of organic forms. She shares moments of respite in beauty as an antidote to the unease in the world in which we live. “If I can touch someone else with my work, I’m deeply moved and grateful. I hope that viewers will appreciate the beauty and embrace the need to care for our endangered planet.” Portfolio 6 ARTDOC The series States of Grace of Wendi longing for freedom, peace, love, and Schneider, an American photographer harmony amidst the chaos of the world. residing in Denver, evolved organically. This synthesis of form and content, paired “I photograph what I’m drawn to and strive with poetry and music, allows the viewer to to immortalize the grace I find there, to consider the commonalities in our collective make the intangible tangible, and to instill consciousness. We all live under the same my images with the spirituality felt at the moon.” moment of capture. These moments are my states of grace.” Visual poetry The series is extensive and is informed by Wendi Schneider seeks to create visual nearly 40 years of photographic image- poetry through fleeting moments of making. Her work originates from her vanishing beauty. “I’m driven by a search youth, growing up in a family of artists for grace and the elusive glow of creative in the lush, plush South. Schneider: “As a flow that exists when the awareness of child who grew up in the shadows of the time disappears. I relish the focus to Holocaust, the murders of the Kennedys, discover how best to convey the essence Martin Luther King, and countless others of the ephemeral that elicits a quickened in our systemic racism and antisemitism, I heartbeat. It’s that magical moment when embraced the ideology of different strokes the senses align. It’s calming and exciting, for different folks.” centring and enchanting, and for me, a spiritual experience. I feel that I’m given a Moon gift of a moment which I am tasked with Within States of Grace are images that can preserving.” be curated by subject, theme, or treatment. Schneider shares moments of respite in For her Colorado Month of Photography beauty as an antidote to the unease in the exhibition in Boulder in 2019, Schneider world in which we live. “I illuminate the chose the title Evenings with the Moon. “In necessity of recognizing and preserving our this selection of images, I contemplate the disappearing natural world. I make work power of universal experiences to unify and for myself because I’m compelled to. If I can find transcendence, engaging the moon as make my work, I am fulfilled. If I can touch muse. Printed on vellum or kozo and gilded someone else with my work, I’m deeply with precious metals, the subjects echo the moved and grateful. I hope that viewers will luminosity of their celestial inspiration. My appreciate the beauty and embrace the need © Wendi Schneider | The Cry of the Lonely Crow, 2019 images of the night draw on the metaphor to care for our endangered planet.” of darkness and light to express our shared 8 ARTDOC © Wendi Schneider | Cypress, 2017 10 ARTDOC Part of life booklets from the Metropolitan Museum of Many of her works depict trees in various Art. I later studied art history, the decorative forms, as well as birds and owls. The photo- arts and painting at Stephens College in works are not merely descriptions but Columbia, MO, before transferring to serve mainly as memories and metaphors. Newcomb College in New Orleans to Schneider about her youth: “When I was concentrate on painting. I think art history, a child, my neighbours had a small farm and the design and iconic fashion magazines behind our home. At night I would listen to of the ‘70s and ‘80s helped cement my sense the great horned owls calling to each other. of composition or perhaps I was born that It was magical and soothing. Near the farm, way.” in the far corner of our back yard, I sought Artists and photographers that inspire her solace and solitude beneath the undulating are various. “Many artists have played a limbs of a weeping willow tree, trying to role in my development. Edward Steichen, figure out how I fit into this world. I feel we Robert Demachy, Frank Eugene, Gertrude are forever intertwined with these delicacies Kasebier, and other pictorialists, Sarah in nature, as we too are part of life on earth. Moon, but also James Abbott McNeill These symbols of nature inspire dreams and Whistler, John Singer Sargent, Claude represent wisdom and freedom.” Monet, Gustav Klimt, Lucien Levy Dhurmer and other Symbolist, Tonalist and Art history Impressionist painters.” Seeing her artistic photographs, it is not Her art background does not impose a rigid surprising that Schneider has a background copy of a historical style. “I photograph in painting and art history. “Both my intuitively – what I feel, as much as mother and grandmother painted when I what I see. Informed by a background in was young, and I have paintings by them painting and art history, my images are and by my great-grandmother in our home. layered digitally with colour and texture to I spent most of my childhood outdoors or manipulate the boundaries between the real drawing and painting and hours in the attic and imagined and are often altered within with a collection of my mother’s art history the edition, honouring the variations.” “I photograph intuitively – what I feel, as much as what I see. © Wendi Schneider | Locust, 2016 12 “ ARTDOC Textured paper position and ambient light transition. Schneider does not compromise in her My process infuses the artist’s hand and digital printing technique, choosing suffuses the treasured subjects with the the very fragile Japanese natural Kozo implied spiritually and sanctity of the paper, which is also known as Mulberry precious metal, echoing the spiritual paper. “My artwork Crescent & Crow was experience of the process of creating the layered digitally on my iPad and then image.” brought into Photoshop. I had been Some images, like Cypress and The working with vellum since 2012 and Wisdom of Trees, seem to have a natural had played with encaustic wax on Kozo tone and other images like Crescent in 2015. In 2018 I began experimenting Moon, are blue. Why did she print her with the Kozo with gilding. The surfaces photographs in different colours? “I’m are quite different - the vellum is more interested in how something smooth and presents as a silken sheen feels than appears. Sometimes the and smooth finish when gilded; the capture does not call for a different Kozo is more textured and sparkles interpretation. Sometimes it does. with luminosity. After the images are Colour evokes emotional responses in digitally on translucent vellum or Kozo, me and hopefully for the viewer. We all I apply white gold, moon gold, silver or bring our personal histories into each 24k gold leaf behind the image, creating emotional response.” a luminosity that varies as the viewer’s About a family of artists, later earning an AA in Art History Wendi Schneider is a Denver-based visual artist from Stephens College and a BA in Painting from widely known for her ongoing series of hand- Newcomb College at Tulane University.
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