Shain Erin

Shain Erin has been making some sort of art practically since birth and has achieved success in a variety of media including painting, digital media and sculpture. In recent years he has become obsessed with the possibilities of the doll as a medium with the potential to reach a wide and varied audience while challenging conventions and preconceptions about “art” and art-making. He draws on a wide range of influences including world art, mythology and popular culture to create a unique perspective on the doll as an art form.
Shain Erin has a Bachelor of Fine Arts Degree from the San Francisco Art Institute And has shown work throughout the US including the recent “Raining Art Dolls” Show at Ten Women Gallery in Venice, California and the “Circus” show at Studio Space Arts Gallery in Barre, Vermont. His art doll sculptures are in collections throughout the US and in Germany.

I’m an obsessive artist (since birth) working primarily in sculpture, painting and digital media. I have a Bachelor of Fine Arts Degree from the San Francisco Art Institute and have shown work throughout the US. My doll sculptures are in collections throughout the US, Australia, Canada, England, France, Germany, and Norway.” (mostly in San Francisco and Denver) But mostly I’ve kept to myself artistically, exploring my obsessions and refining my vision and methods.
I’ve always been fascinated with world art and mythology and for about the last ten years I’ve been concentrating on exploring and defining a personal mythology and “history” while honoring and referencing existing world art traditions. . For that reason I refer to my work as Neo-Mythic and see myself as a creator of artifacts that never were.
For the last several years I’ve been preoccupied with dolls: I see them as a long under appreciated art form with virtually unlimited expressive possibilities. I’m inspired by traditional world art figures (kachina, bochia, nkisi, namchi, shadow puppets, etc.) while working to push the boundaries of what a “doll” is as far as my imagination and skills will take it.
These are not comforting toys; they can be challenging and defiant, disturbing and enchanting, irrational and frightening, beautiful and sad. They have stories they yearn to tell, and they hold secrets they will never give up. I like to think of dolls as spirit vessels and the making of a doll a kind of offering or invitation. It’s always a collaboration between me and whatever spirit comes forward.
Lately I’ve felt it is time to come out of my shell and start finding an audience for my work, so here I am. I hope you will find something to connect with here –that touches you in some way, and I would love to hear what you think.
In recent years I have become preoccupied with the formal/expressive possibilities of the doll as an art form. I am fascinated with the way in which dolls can function simultaneously as contrived objects and as living entities. I draw on a wide range of references including world art, art history, mythology and popular culture to inform and empower my doll sculpture.

Bogdan Zvir

Contrasts and paradoxes were surrounding Bogdan since childhood: a wooden village house without any conveniences that drowned in snow till roof, it was situated next to a modern building of a famous bank and an awl-like TV tower. Winter frosts till -60 and dry summer heat of +40 with sandy air from Lena. House foundations on piles growing from permafrost, and ugly heat pipelines spoiling cold sky. Then St. Petersburg. Mystic inconceivable city built on an absurd spot by a controversial person with the cost of a paradox number of lives and expenses. The city that in absurd time became symbolic, isn’t it a perfect refuge for Bogdan Zwir? Weird author. Who is capable of distracting anybody from idle thoughtlessness, tearing away from a swamp of indifference, evoking craving for self-study and bringing fruitless ideas to life. Showing in the absurd the creative dynamics of magic images, his real fantasy is full of them.
Bogdan Zwir is a photographic artist in St. Petersburg, Russia. He says he did not receive special education in either photography or the arts. He writes in his broken English, "I comprehended independently the secrets of processing a photo... The main aim in creativity is to invent unreal life but to maintain a realistic performance...[with] dominance of emotional, psychological and esoteric components... There is no place for accident...The image appears and lives, having its past, present and future. It breathes, pulsates, provokes the spectator to mutual conclusions and experiences. The movement excited in the viewer has neither beginning nor end. There are always questions left... You would ask what it is after all - photography or painting? On the one hand, technically it is photography. But the final impression is painting."

Paul von Borax

Paul von Borax started photographying long ago ... and what should have been a hobby gradually turned into passion. he likes to experiments, tests, and his photos are more worthy for him than himself. He gradually discoveries and encounters that give wonderful desire to continue to shape his hands lights, decorations, moods ... watch and give to see that look.
"Rather chaotic, I do not claim to act perfect photographic, rational. I do a lot of improvisation, and built between random. I trust my intuition, my will and my pleasure to do so, and often in my dreams, many of my photos are taken." 
His inspirations are multiple tables, situations, events ...
First he tried taking pictures by Polaroid in 2005, it was time ... and now he uses many materials, films and different processes. Boiled, stained, abandoned, scratched, bruised, his only goal is to make an atmosphere that only Polaroids are able to express.
The series is made of a Polafu Mamiya housing and Polaroid back. Makeup artist Anna Telia Paul von Borax created an aura of goddesses with each model. The snapshots are then passed through various secret recipes photographer for their surface are transformed and earn tons of another time. Muses and represented plunge the viewer into a work of erotic early twentieth century.
The second series presented by The open eye gallery entitled The Girl Sheet is produced in collaboration with artistic makeup Anne Arnold ( In a more romantic Paul von Borax recreates a world as an ultra feminine.
For the photographer philosophy remains the same on all series regardless of the chosen techniques: all the shooting. Almost no retouching, by choice. Photography: the writing light. Paul von Borax is a photographer, not a Photoshop-designer. Reality in its simplicity and its brutality sometimes it is more beautiful than any artificial world. 
- The Girl and Polafu Sheet, The open eye gallery, September 2012
- Ghosts of Atlantis, underwater pictures, MKP, Paris, May 2012
- Collective exhibition with Furious, Paris, on the theme "ten years Furious" in May 2011
- Cultural Office of the Grand Place, Arras, March 2011
- Café Photo, Lille, October 2010
- FEPN (festval European nude photo) Arles, May 2010
- Expo "Polaroid", The Furious, Paris, May 2009
- "Ur Hair," with teams of hairdressers Japanese "Yellow Cab," "The Castle" Tokyo, February 2009

Bill Westheimer

Since making his first photograph at age 14, Bill Westheimer has been fascinated with alternative processes including high school experiments in holography, solarization, and high contrast imagery . At Union College Bill studied with noted painter and educator Arnold Bittelman. He continued with his experiments in photography and experimental image making while completing college.
Later Westheimer studied with Jerry Burchfield who introduced him to color photo graMs and Cibachrome (now Ilfochrome) printing. Bill went on to teach Cibachrome printing at Colorado Mountain College in Aspen. Early in this millennium he learned the 19th century technique of collodion glass plate photography from the leading experts in the field: France Scully and Mark Osterman.
Recent work includes photograms made on collodion glass plates, Ilfochrome and gelatin silver media. He has been collaborating on a camera obscura project with Charles Schwartz documenting the city of New York, and recently published a book MANUAL – The Personalities of Hands and CRICKETS a handmade book created in collaboration with Leonard Seastone. His works are exhibited in galleries and museums worldwide.
Bill lives and works in West Orange, New Jersey in a converted 1885 carriage house that includes a modern darkroom and digital printing studio.
I believe art should ask questions, not provide answers.    The problem with photography is that it shows you what exists. It is much too literal for my taste.  My challenge is to take the familiar and make it unfamiliar; to ask a question and begin a dialogue with the viewer.  W.H. Auden said: ”Knowledge may have its purposes, but guessing is always more fun than knowing.”
I don’t capture what is there, but rather I liberate what I see.  When my photograph of something familiar makes the viewer see it in a new and different way and use their imagination then I have succeeded.  I love to photogram the small things that we often overlook: a weed, or a broken piece of glass.  I pursue those things that are rejected, the trash and the detritus, because I enjoy the challenge of finding something exquisite in the ugliest garbage.  Like the ancient Japanese Zen monks’ tradition of wabi-sabi - which venerated the ephemeral complexity and beauty of nature’s imperfections - I pursue my fascination with the art of impermanence. 
I use the objects with the photogram technique to make one-of-a-kind pictures. Without the interference of film and lens I reveal the fundamental nature of the entity itself. Taking the objects into the darkroom, I use their shapes, shadows and their essences to expose conventional photographic paper or old fashioned glass plate negatives that can then be enlarged and reproduced using digital technology and a pigment printer.
My personal dialogue with the objects provokes the questions expressed in my pictures.  All I ask of the viewer is to join me in my pursuit of the investigation.

Mariam Shengelia

Born in 1994. She started taking photos in 2009. 
At first Mariam was taking documentary photography, but soon she realized that the style was not interesting for her. As she says " to be engaged in the creative process is the most enjoyable, it's mystical act." 
Mainly she takes self-portraits. Mariam has never taught photography. she can work with every type of camera (tape, webcam, digital camera). 
"I don't remember the reason of my decision doing photography, but it's seems to me that i did it because of art. photography gave me opportunity to express world and myself without academic or artistic style. My photography first of all is the sublimation of my inner vibrations. that's why i'm always trying to be free and creative. I think it's the most important to announce your emotions. 
I get annoyed at each photo in high quality, which twinkles, I think it demonstrates only technical opportunities and not your expressivity"
she studies in the first year of the Faculty of Arts and Sciences. 
in 2010 she was taking part in the project "Georgian Stories"
Her first exhibition was in 2011.  In 2012 her slideshow was background of the poetry of Keren Esebua