PRIX DE LA PHOTOGRAPHIE PARIS (PX3) ANNOUNCES WINNERS OF PX3 2014 COMPETITION.
Barbara Cole of Canada was Awarded: Third Prize in category Nature for the entry entitled, " Duplicity ." The jury selected PX3 2014’s winners from thousands of photography entries from over 85 countries.
Px3 is juried by top international decision-makers in the photography industry: Carol Johnson, Curator of Photography of Library of Congress, Washington D.C.; Gilles Raynaldy, Director of Purpose, Paris; Viviene Esders, Expert près la Cour d'Appel de Paris; Mark Heflin, Director of American Illustration + American Photography, New York; Sara Rumens, Lifestyle Photo Editor of Grazia Magazine, London; Françoise Paviot, Director of Galerie Françoise Paviot, Paris; Chrisitine Ollier, Art Director of Filles du Calvaire, Paris; Natalie Johnson, Features Editor of Digital Photographer Magazine, London; Natalie Belayche, Director of Visual Delight, Paris; Kenan Aktulun, VP/Creative Director of Digitas, New York; Chiara Mariani, Photo Editor of Corriere della Sera Magazine, Italy; Arnaud Adida, Director of Acte 2 Gallery/Agency, Paris; Jeannette Mariani, Director of 13 Sévigné Gallery, Paris; Bernard Utudjian, Director of Galerie Polaris, Paris; Agnès Voltz, Director of Chambre Avec Vues, Paris; and Alice Gabriner, World Picture Editor of Time Magazine, New York.
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THREE BY FOUR from the Chromatics series on the cover of Barry Dempster's book of poetry, DISTURBING THE BUDDHA, Brick Books, Canada and FACE OFF on the cover of IO E TE ALL'ALBA, Edizioni Piemme, Italy. Thank you for choosing my images for your works.
OPENING IN THE NETHERLANDS, 3 September until 18 October 2015 at Creutzberg Van Dun Contemporary Art Gallery
In the Summer Season with Photographer Barbara Cole - July 2015
We are pleased to share the work and words of photographer Barbara Cole.
Would you please tell us a little about yourself?
I’m Canadian and I’ve lived in Toronto all of my life. I’ve been married to a great guy for years and years and I have two grown daughters, who are very talented artistically but work in other fields.
How did you get started in photography?
I got started in photography completely by accident. I had dropped out of high school in the last year because I was ill. I was about seventeen years old and I passed the rest of the year by doing a bit of modeling and the next year as a secretary. That was enough to convince me to go back to school again. One of the clients I had modeled for was a start-up newspaper. The fashion editor was quite taken with me and convinced that I could be the new fashion editor at the age of 19. I found the reporting part difficult, but I loved the weekly fashion shoots. The other photographers told me I had a good eye and they encouraged me to do the shoots myself. My entire life seemed to take on a purpose after that.
Which photographers and other artists’ work do you admire?
I admire a lot of other artists, each for a different reason. Stieglitz for his utter devotion to photographers and his passion for photography. Deborah Turbeville and Sarah Moon because their photography was/is ephemeral. I loved Steichen for his incredible eye and the breadth of his talent. I absolutely loved Lucien Freud and I have for ages. His paintings are ugly/beautiful and incredibly strong. David Hockney makes it onto the list because his work is so fanciful and enchanting. Picasso was such a huge talent and his brushwork was fearless. I love the colour harmonies of John Singer Sargent. Heinrich Kühn’s autochrome work was flawless and his patience was legendary. Lastly are Gerhard Richter’s photo paintings.
Would you share with us an image (not your own) that has stayed with you over time.
￼Sure – Gerhard Richter’s Helga Matura, 1966. There are so many levels to this work.
Please tell us about your newest series?
Wet Collodion is probably the most difficult process I’ve ever learned. That speaks volumes since for the past fifteen years I’ve been shooting people underwater, with electricity and holding my breath. With Wet Collodion, until you learn to perfect all of the elements you really can’t achieve your vision. It took me four years to understand the lighting, the field camera, the cleaning of the plates, the mixing of the chemicals before I was able to find my vision. I was first intrigued by Wet Collodion because I had a binder full of old Polaroid 35mm Black & White transparencies that could now be printed by this process since Polaroid was out of business. Darkroom work was all fine and well, but I really wanted to shoot something original and I wanted to stretch the boundaries of this process. Everywhere I looked everyone was doing the same damn thing. Sepia portraits or historical re-enactments.
As I mentioned previously, for a long time I’ve been exploring the use of water as a medium, as a canvas, as a lens, as a mirror, and particularly the effect it has on the way we see the human figure. In July of 2013, I was struck by a puddle of water on the pavement. The image in the puddle was of glass buildings overhead against a clear blue sky. I felt like the water was a window through the sidewalk into another world. The boundaries of the image in this other world were imperfect, they were blurred and they were not static because of the movement of the water. Nevertheless the water captured the image just as photography captures an image by artificial means.
It seemed to me that this primitive form of capturing the image could well be explored with Wet Collodion. The emulsion is literally poured over a piece of glass in much the same way as water in a puddle might cover a piece of pavement and play with the shape of the figure within. The magic of photography allows the image to be captured in a permanent way whereas in the puddle when the water evaporates the image is gone. These images in “Meditations” are intended to convey the experience of that way of seeing. The indistinctness of the human figure, the irregularity of the frame in which it appears, and the ephemeral atmosphere all echo, for me, the fleeting impression of life reflected in water.
If no one saw your work, would you still create it?
Of course. What a question!
Please tell us about your process and what the perfect day for you.
I used to jump into ideas much quicker but I must say now that I do a lot of thinking before I begin. I honestly can’t say which is best. I tend to draw out my story boards, either with a pencil or on the computer which provides a clear reference for anyone I need to involve. I think a perfect day is working together on an image with my support staff around me and seeing the idea actualize for the first time.
What challenges do you face as an artist?
I think the greatest challenge is coming up with strong ideas and staying motivated to see them through. Until an idea gels, I’m pretty miserable to be around.
If you could spend the day with another photographer living or passed who would it be?
It would have to be Edward Steichen.
How do you overcome a creative block?
Wow – what a great question! When I start sleeping during the day, eating a lot of delicious cookies and reading way too many books, I realize that I might be blocked! So I know that it’s time to hear the little voice in my head that’s been telling me I’m a bad artist and I will never have another good idea again. I understand it for what that voice actually is – FEAR. I go to the studio and quietly build myself up again. It seems to work for me.
I used to say that photography saved my life, but that isn’t quite right. I need to take one extra step back, and I’ll tell you about that in a minute.
First, what does water mean to me as an artist?
In a word – EVERYTHING. In my late twenties, while I was working as a photojournalist at a newspaper, I had an attack of constant migraines . . . morning, noon and night, every day, all day for over 3 years.
As a treatment, one of the doctors suggested a daily swim. While swimming, which did provide relief, I would think, “If I ever get well, I’ll become a full-time photographer and open my own studio.”
I did eventually get well, and I opened my studio in the 80’s. In the meantime, I kept on swimming as much as possible. I refer to the pool as “my office” because so many art projects were conceived there.
It took some time before I was able to connect the two passions in my life -- photography and swimming. But from the first underwater roll of film, I knew I had found a deeply personal means of expression.
I’ve had the good fortune to use the freshwater available to me in Canada. I think I took it for granted all these years. I’ve been shooting underwater since 2000, but I never questioned water’s availability. It was always just there.
Now it is time for me to give back. Donating our art (mine and all the other fine artists in this collection) means that Waterkeeper can continue to do its good work.
This is a great organization. Mark and Krystyn and the team have created such a warm and personable community. I feel that it’s safe to get a little bit personal with you and share this story from my past. I hope you will do the same for us.
On April 23, stop by the Watermark Booth at the Waterkeeper Gala Toronto and register your watermark in our archive.
Barbara Cole is an artist and co-chair of the Waterkeeper Art Selection Committee alongside Michael Adamson. She has been part of the Waterkeeper community since 2012.
Check it out. It is a beautiful showcase for all sorts of talented photographers. Visit shadowandlightmagazine.com