“20+ year of collector of vernacular and found photography – pathologically drawn to images of incidental and inadvertent power. Whether creepy, sexy, menacing, compositionally complex, I am always looking for that image I have not yet seen.”
Kathleen Fonseca (Realtorsguide To The USA) developes narratives using photos sourced from real estate listings that explore American culture, politics and life in general. ~This series is called “Dead Deer Walking”. The photos are generated without human intervention. Infrared cameras are set up at wildlife feeding stations on farms and ranches, equipped with automatic flash and triggered by motion sensors. The sole purpose of the feeding stations is to develop and provide for a growing population of wildlife for hunting purposes. Animals are accustomed to finding food at these stations, the owner knows where to find the animals and the rest is venison in the freezer and a bust mounted over the fireplace. These photos are included in real estate listings to seduce the right buyer with the promise of abundant prey and thrilling hunts. I find the photos graceful, ghostly, ethereal and lovely.
Avalon K Hale-Thomson (b.1999) is a digital archivist and illustrator born and based in London. Her current project, ‘@craigslistcore’ is an exploration in the ethical boundaries of digital found photography. An online archive comprised of photos uploaded to Craigslist in North America, it is intended to question the consequences of shifting images in and out of different contexts and across different mediums, the morality of cyber-voyeurism, and the bleeding overlap between the ‘offline’ and the ‘online’, the ‘private’ and the ‘public’. Originally curated on Instagram, @craigslistcore was forcibly deleted in February 2022 for violating the terms of service. For access to the archive in its current form visit https://gnosis.show/avalonhale.php or contact email@example.com.
Ege Kanar’s work explores lens-based media from an ontological standpoint dealing with topics such as materiality, indexicality, representation, and memory to ponder on intrinsic ways photographic images construct meaning.
The artist deals with conventions of seeing that are tailored by scientific disciplines such as astronomy, geology, and anthropology; or by power structures such as family, and the state.
Kanar studied “Visual Arts and Communication Design” at Sabancı University in Istanbul, and completed an M.A. degree on “Photography” at The Academy of Performing Arts (FAMU) in Prague.
He lives in Istanbul and currently teaches at Bahcesehir University Photography and Video Department.