GOOD CHEMISTRY
Artists are interpreters of their time, seeing deeply, and at times differently, offering new ways of perceiving and understanding. But what draws an artist to their subject? What alchemical pull plays on their heart and fosters a connection to a model, a vista, or an idea?
The work of Artists Amy Haslehurst, Erik Nieminen, Johannes Laumer, and Alex Janero speak to us precisely because their connection to their subject is palpable; more than inspiration, each of these artists seeks to find synergy with their subject, sparked and discovered in the process of creation, perhaps both known and unknown until revealed.
For photographer Amy Haslehurst, it is the visual interplay between the undulating patterns in water rivulets with the sensual curves of the female form. Haslehurst’s model stretches sensuously in the harsh, yet stunning Icelandic landscape, her pale skin in contrast with the coarse, black volcanic sand. Haslehurst is fascinated by finding synergistic relationships between her subject and context, and she skillfully nurtures powerful symbolism drawn from the rich duality of similarity and contrast.
“The centre of Iceland is uninhabited, a true wilderness with nothing but expanses of black volcanic sands, mountains, glaciers, and lava. Whilst traveling through, I was intrigued by the patterns left by small river streams that appear and disappear in the sand. I instantly thought of the patterns in contrast with Svala's pale skin and the kind of shapes she could make with her body - how nature and form could assimilate. Only the most daring could ever pose in such an unforgiving landscape; Svala is Iceland encapsulated - beautiful and strong.”
Erik Nieminen, ‘Midas’
Painter, Erik Nieminen and photographer, Johannes Laumer, both work with the concept of a creative feedback cycle between artist and art - a dynamic interactive relationship between themselves, their media and subject, and emergent art.
Nieminen is interested in depicting movement, speed, and chaos in the modern world - city scenes and deep dives into both natural and contrived naturalistic settings. Nieminen frequently paints images reflected on glass surfaces - producing a cacophony of images, movement, and ‘disturbances of space’ simultaneously. His artistic process is directed by a reverb cycle between what he sees emerge in the painting and how this manifests on the canvas - in the moment - as the visual story unfolds.
“My works present an independent reality, a world that is dependent on our real-world yet is separate from it. I seek to deconstruct the reality that we inhabit in order to remake reality according to the logic inherent in the painting process. Aesthetically, I am mainly interested in the dissolution of space, perspective, light, and time through varying degrees of figuration where form is created through a responsive and adaptive process over a length of time. The process itself mirrors the way time works – gradually shifting reality until what is familiar evolves into something renewed”.
Johannes Laumer turns his lens on both naturally occurring scenes and simulations of natural elements interacting in his studio and observes these with scientific curiosity. From the minute visual shifts of light and undulating movement of sound waves on elements such as water, Laumer produces ethereal images that manifest as cloudscapes, kaleidoscopic refractions and underwater worlds. When set to music, the results are gorgeous and hypnotic.
“A sudden rain shower fills a mirror with water droplets, the wind blows away the clouds and the sun comes out to shine. While I observe the water droplets refracting the sunlight through a lens, the magic begins. The path of light transitioning between water and air becomes visible while forming unpredictable and unique shapes and colours, morphing dynamically….the slightest change in light conditions such as a cloud passing by or the shadow from branches of a tree, dominate the mood of the resulting image….I often need to surrender to the moment completely before finding a perspective…”
For portrait photographer, Alex Janero, ‘good chemistry’ comes from knowing a subject in their totality that deepens his work. Janero looks for the visual synergy between his subject and the emotion and subtext that emerges through deep understanding. Inspiration for his images is found in eliciting, rather than interpreting the ‘truth’ of each subject, possible only when a photograph is developed in partnership with her. These collaborations allow him to work with complicated subject matter such as femininity and sexuality post-mastectomy; in Janero’s series, ANDROxGYNE, we viewers are seduced by the beauty and simultaneously respond to the story - the freedom and sensuality are palpable, released by Janero’s knowing photographic eye.
“have a strong interest in documentary work and personal narratives. It is important for me to understand my subjects and know them as people. I see the session as a collaboration to make a statement that speaks the truth for all involved. The beauty emerges when the full personality of the sitter comes across in the photograph”.
For each of these artists, Good Chemistry is found, not through the end result, but from the excitement of the creative process itself. They embark on a journey of discovery - trusting that their attraction to the starting point - the setting, model, scene, or natural element is rife with meaning and beauty and that inspiration comes from what might be possible - creating a symbiosis between visuals and concept, and accepting the challenge of making this chemistry visceral.
Amy Haslehurst, ‘Svala in the Ash Plain III’
by Nerissa Bardfeld