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Vanessa Marsh, Western Landscape 1, Archival Pigment Ink Print (from scanned Cyanotype), 15x20 in, Editon of 10, $1600

We are thrilled to present Western Landscapes by the incredibly talented Vanessa Marsh!

About this work, Marsh writes, "The images depict the infrastructure and amusements of modern culture set against otherwise remote locations. The darkness of the sky and the prevalence of stars allude to ancient skies before light pollution changed our everyday experience of the universe. The images act as a meditation on our connection to the story of humanity, as well as our place in the vast geologic history of the earth and the cosmos."

In this conversation, we discuss curiosity, making photographs without a camera, printing processes, and more.

Anne Kelly: What role does curiosity play in creating your artwork?

Vanessa Marsh: I think it plays a significant role; the best new pathways come from experimenting and trying new combinations of factors. Each new series is born from a curiosity to learn a new process.

AK: Please describe your process as simply as possible.

VM: I work in various photographic processes using opaque stencils and cut paper to make multiple exposures on light-sensitive paper. The result is the illusion of a layered and dimensional landscape.

Vanessa Marsh, Western Landscape 11, Archival Pigment Ink Print (from scanned Cyanotype), 15x20 in, Editon of 10, $1600

AK: You started creating camera-less photographs in 2011. What motivated you to make this transition?

VM: In graduate school and the years afterward, I was working with scale models that I would set up in front of my camera against real skies to capture semi-realistic-looking landscapes. Around that time, I was teaching a beginning photography workshop and used some of the scale models and some torn paper to demo how to create photograms. From the moment I saw the results of that demonstration, silhouetted figures set against a hazy landscape, I was hooked on making photograms of these imagined places. I no longer use scale models, but the basic ideas of layering silhouettes and graduated exposures began that evening.

Vanessa Marsh, Western Landscape 4, Archival Pigment Ink Print (from scanned Cyanotype), 15x20 in, Editon of 10, $1600

AK: Over the years, you have experimented with photograms using different printing techniques. Are you drawn to the process or the resulting color plate?

VM: I think both; the technical side of learning a new process excites me, and I love the challenge of translating my core materials into different photographic forms. As I get to know a new process, the color and mood, the benefits and limitations, inform the subject matter, which shifts a bit with each new project.

AK: Do you feel that the color plates result in a different psychological experience for the viewer?

VM: Yes, I think the various print processes evoke different experiences for the viewer. For example, my series, The Sun Beneath the Sky, is very bright and airy and could be seen as quite calming. On the other hand, some of the images set in the nighttime can have a somewhat uncanny feeling.

Vanessa Marsh, Western Landscape 7, Archival Pigment Ink Print (from scanned Cyanotype), 15x20 in, Editon of 10, $1600

AK: You recently moved from the Bay Area to Oregon. How have the changing seasons in Oregon impacted how you work?

VM: Well, on a practical level, I had to re-think making Lumen prints with sunlight year-round as I had been able to do when I lived in California. This obstacle led me to investigate other ways of making that could be done in my studio during winter months. The seasons also inform how I collect reference images, as the flora shifts way more dramatically with the seasons here in Oregon than in California. Also, my subject matter is moving away from things like palm trees and towards ferns and blackberries. The images have always been amalgamations of various Western landscapes. However, the landscape I am presently living in comes to the forefront.

VIEW THE COMPLETE WESTERN LANDSCAPES SERIES HERE

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PRINT COSTS ARE CURRENT UP TO THE TIME OF POSTING AND ARE SUBJECT TO CHANGE.

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If you are in Santa Fe, please stop by we are open Tuesday– Saturday, from 10am- 5:30pm.

PHOTO-EYE GALLERY
300 Rufina Circle, Unit A3, Santa Fe, NM 87507

For more information, and to reserve one of these unique works, please contact
Gallery Director Anne Kelly
You may also call us at (505) 988-5152 x202

Chris McCaw, Sunburned GSP #932 (Idaho), Unique Silver Gelatin Print, 8x10 in.

Last month we hosted a conversation between artist Chris McCaw and photo-eye Gallery director Anne Kelly, via Zoom in honor of McCaw's new book Marking Time. In case you missed it or would like to revisit and share it, the good news is that we recorded it and are pleased to post it today!

photo-eye Conversations is a series of causal conversations with photographers

we have the honor of working with.

View | Order Chris McCaw's new book Marking Time HERE


Marking Time, Photographs by Chris McCaw, Datz Press, 2023.

Sunburn was a conceptual experiment and adventure in connecting time and analog photographic tools. … I continuously study what directions and shapes of sun trajectories I can obtain in various times and spaces on the Earth. I expect a magical scene to appear, but it is not just vague waiting. I study meticulously. To obtain the traces of the rising and setting sun, you must personally travel to that time and space. It cannot be manipulated. And I just love that process.

— Chris McCaw


Marking Time, Photographs by Chris McCaw, Datz Press, 2023.

Chris McCaw works with a manually modified large format camera, loading vintage photo paper in place of film, and letting the sun come through the lens to physically burn the paper. This analog photographic method holds the unique documentary aspects of photography, as it captures the day and night of a distinct time and place. The passage of time is also recorded on the vintage paper, marked through varying levels of sunlight throughout the day. This book is a compilation of McCaw’s diverse work from the past 20 years, featuring the significant Sunburn series along with his Heliograph, Poly-Optic, Cirkut, and Tidal series, allowing us to experience the full scope of his variations flowing as one body centered around the sun.

*from the publisher's description

View unique works by Chris McCaw

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PRINT COSTS ARE CURRENT UP TO THE TIME OF POSTING AND ARE SUBJECT TO CHANGE.

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If you are in Santa Fe, please stop by we are open Tuesday– Saturday, from 10am- 5:30pm.

PHOTO-EYE GALLERY
300 Rufina Circle, Unit A3, Santa Fe, NM 87507

For more information, and to reserve one of these unique works, please contact
Gallery Director Anne Kelly
You may also call us at (505) 988-5152 x202

#00141 Verbena hastata, 2018, Unique photogram, Rives BFK, gouache, gum arabic, kitakata, ink, 23k gold leaf, 29x23 in. framed, $1250

We are thrilled to introduce DM Witman and her project Index, a series of gum bichromate photograms, to the Photographers Showcase. To provide some insight into Witman and her work, we are pleased to introduce this new work along with an interview with the artist. In this interview, artist DM Witman and Gallery Director Anne Kelly delve into the connection between art and science, Witman's creative process, grants — and more.

Anne Kelly: Does wonder play a role in the making of your work

DM Witman: Wonder does play a part in my creative practice, in both the active and passive sense. I am someone who has a deep sense of curiosity and am constantly asking questions to help me understand the world around me. For me, the natural world abounds in wonder.

Generally, when I work, due to the nature of the materials and processes, the outcomes are not guaranteed. There is always a sense of “waiting to see what happens”. Now, that does not mean that the work is all due to magic, but there is a great deal of experimentation and being open to the results.

AK: You have degrees in both art and science. Do you feel that art and science have connective tissue?

DW: Art and science are deeply connected. Prior to the 20th century there was not as big as a distinction among interests — individuals attended the same salons to learn about new concepts, and new inventions, such as in painting, psychology, or about the human body. That has since changed and disciplinary boundaries abound. What was common then, is still common today — a sense of curiosity. Both art and science can be characterized by exploration, experimentation and discovery.

#00106-2 Dryopteris spp. 2018, Unique photogram, Rives BFK, gouache, gum arabic, kitakata, ink, 23k gold leaf, 29x23 in. framed, $1250

AK: Index is a series of photograms. Can you please explain to our readers what a photogram is - and dive a bit into the chemical process and materials you have chosen to work with to create this series?

DM: A photogram is made when an object, or objects, are placed on the surface of light-sensitive materials, such as a piece of paper, or a piece of glass. Photograms can be made with many photographic processes, such as silver gelatin paper, cyanotypes, and as I have done with this series, with gum-bichromate.

With Index, I have coated large sheets of fine printmaking paper with a slurry of watercolor pigment and gum arabic mixed together with a light sensitizer. I repeated this step until the desired color and density is achieved for each sheet. Once, dried, the individual plants I collected were placed on top of the sensitized paper within a very large contact printing which would be set in the sun to expose the sensitized paper with the shape and details of the plants. Most days, I could make one to two pieces.

AK: Art often starts with a question. What question are you asking in this series?

DW: This work was born from my deeply personal experience with loss and grief. It was my attempt to grapple with a discovery about myself, that I had been experiencing grief due to ecological changes and loss, for many many months, unable to “make work. I was stuck. Collecting plants from the inter-tidal marsh along the river which I called home and have a deep connection and reverence with, was a bit of a reckoning that this place would change. And that many of the species would not tolerate the changes ahead — consistently higher water lines and higher tides, a greater salt content from Penobscot Bay, which is a few miles away. The reckoning was as much about a concern for the various plant species as it was an acknowledgment of how my actions, and those of humanity have induced these changes, for which for me, was a terrible amount of guilt. Perhaps the ultimate question for me involved an attempt to understand and process these feelings. I came to understand that I could move forward in the world, and in my life and my work, if I could make meaningful action(s). What could I do? Part of those actions meant holding space for these plants, which are often overlooked regarding conversations about the climate predicament.

#00105 Pontederia cordata. 2018, Unique photogram, Rives BFK, gouache, gum arabic, kitakata, ink, 23k gold leaf, 29x23 in. framed, $1250

AK: In your series Index, you are collecting and identifying plants that are not formally on the "endangered" list, but may be in the future. Do you see this work as a "call to action?"

DM: I certainly can see that. But for me at the time of making these objects, it was a way to both collect data and an act of memorializing the plants which are part of the way that I understand and connect to the natural world. The process allowed me to move forward to process what I was experiencing. And ultimately, a way for me to understand that I can continue in life by making meaningful actions to help the human and non-human species, no matter how small that action might seem in the scheme of it all.

AK: Do you feel that this series is in conversation with Anna Atkins' British Algee series?

DW: Anna Atkins has certainly been an influence on me as an artist. Her sensibilities and interest in botanical science, the naming of things, and sharing that with others. I’m sure she was interested in contributing to science and sharing this with others, which is I believe an intersection of the two bodies of work. However, I can only wonder if she considered that species might disappear due to human influence and impact back in the late 19th century. The works from Index are heavy, and there is a dimension to them, which is purposeful. They are objects, memorials, and of data — a baseline of a particular moment in the history of that place, along that river, at that time. And I find them beautiful.

#00105 Pontederia cordata. 2018, Unique photogram, Rives BFK, gouache, gum arabic, kitakata, ink, 23k gold leaf, 29x23 in. framed, $1250

AK: You describe yourself as a transdisciplinary artist working with photographic media, video, and installation. Do you feel your practice in each medium/media bleeds into each other — in the sense that perhaps you are working on a still photograph and it gives you an idea for a video?

DW: Absolutely. My work is driven first by concept. However, the process of making is also very important to me. I try to be open to how these explorations and expressions might manifest. These three realms of working can intertwine to create experiences for others, that are at times unexpected, and that I welcome.

AK: You have received a few grants. Do you have advice for other creatives as to how to go about getting a grant?

DW: Grants — yes! Write, apply, apply, refine by writing more, and apply again. While grants are competitive, I believe there is some element of timing. Attempt to understand what granting agencies are looking for — for example, does your particular idea or project align with the granting organization’s mission? Are they interested in funding work that has yet to begin, or projects which are deeply underway, or projects that are completed? The more you write, the better solidified and succinct your ideas become on the page. And know that for every successful grant I have received, there might be ten, twenty, or more rejections. The key is to not give up.

DM Witman is a transdisciplinary artist working at the intersection of environmental disruption and the human relationship to place in the Age of the Anthropocene.Her creative practice is deeply rooted within the effects of the climate predicament to humans and more-than-human species on this planet, employing photographic materials, video, and installation. Interviews and publications include The Guardian, BBC Culture, WIRED, Boston Globe, and Art New England. She actively exhibits her work and has been recognized with grants from the Maine Arts Commission, The Kindling Fund (a regrantor for the Warhol Foundation), The John Anson Kittredge Fund, and the Puffin Foundation. Her work has been collected by institutions such as the Museum of Fine Arts Houston and is placed within many private collections. She splits her time between the Borderlands of South Texas and Midcoast Maine.

DM Witman @Brenton Hamilton

VIEW MORE IMAGES FROM DM WITMAN'S SERIES INDEX

In honor of the closing of Reshaping the Earth: Energy and the Environment, an exhibition featuring photographs by Jamey Stillings and David Emitt Adams, we are pleased to share a recent segment of photo-eye Conversations LIVE with David and Jamey. Below the video, are a few installation shots if you haven't visited the gallery yet.

In this segment of photo-eye Conversations, Adams and Stillings engage in a conversation about their work, including in Reshaping the Earth: Energy and the Environment. If you're short on time, or would just like a taste, we also made two 5-minute videos you can watch: David Emitt Adams discussing his work (here) and Jamey Stillings talking about his work and his new book (here).

Enjoy!

Jamey Stillings' aerial photos document renewable energy projects and mining in Chile's Atacama desert, a region rich in natural resources like lithium, copper, gold, and iron ore.

David Emitt Adams uses historical photographic techniques to explore industrial landscapes from the American oil industry in his Power series. He captures the images using a custom-built camera and prints directly on 55-gallon steel oil drum lids using wet plate collodion chemistry.

View more work by David Emitt Adams here

View more work by Jamey Stillings here

Order Jamey Stillings' new book here

Sunrise Moments, August 27, 2022, 7:23:48 a.m, Eagle Nest Lake, NM
10x40 in. Archival Pigment Ink Print, Editon of 25, $1200

For David H. Gibson, making photographs is "a constant process of experiencing the unexpected…like listening to music with its structure of sound forming and unfolding during performance."

Sunrise Moments, August 27, 2022, 7:33:43 a.m, Eagle Nest Lake, NM
10x40 in. Archival Pigment Ink Print, Editon of 25, $1200

Every August, David H. Gibson packs his camera and heads to New Mexico to continue a project he has been working on for at least two decades — photographing Eagle Nest Lake in the early hours of the day. David seeks to capture the ever-changing lake in his photos, each representing a unique moment in time, recording nature's artistry...

Sunrise Moments, August 31, 2022, 6:59:01 a.m, Eagle Nest Lake, NM
5x40 in. Archival Pigment Ink Print, Editon of 25, $1200

While the location is fixed, each minute of every morning is a different experience. Sometimes the lake is shrouded in mist, creating a mysterious and ethereal atmosphere — other times bright and sparkling, dark and stormy, or calm and peaceful...but every experience is different and memorable.

>>View more work by David H. Gibson<<

>>Learn more about David H. Gibson<<

For more information, and to reserve one of these unique works, please contact
Gallery Director Anne Kelly

You may also call us at (505) 988-5152 x202

Chaco Terada, I Am Home 4, 2022, Sumi & Pigment Ink on Silk, 10x7", Unique Print, $1,800

If you've been following Chaco Terada's work, you might be anticipating her annual visit to photo-eye. I am pleased to report that we were able to catch up with Chaco recently and now have some fantastic new pieces in our inventory. A selection of the new works can be viewed below, and you can find additional work on our website.

In the case that you've recently discovered Terada's work, you might be curious about her unique process. Terada's process involves printing photographic images onto multiple layers of silk, which are often embellished with brushwork using Sumi ink. Each layer of silk is delicately stretched between an 8-ply matboard, like a canvas, so that every semi-transparent layer of silk interacts with each other, much like a watercolor painting.

Enjoy viewing — and please reach out if you would like to discuss a specific piece.

Chaco Terada, To Pontoon 1, 2018, Sumi & Pigment Ink on Silk, 10x7", Unique Print, $1,800

Chaco Terada, A Fragment 2, 2023, Sumi & Pigment Ink on Silk, 10x7 in, Unique Print, $1800

Chaco Terada, Wind from East 2, 2023, Sumi & Pigment Ink on Silk, 10x7 in, Unique Print, $1800

If you would like to know more about Chaco Terada and her process you can find more information HERE

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PRINT COSTS ARE CURRENT UP TO THE TIME OF POSTING AND ARE SUBJECT TO CHANGE.

* * *

If you are in Santa Fe, please stop by we are open Tuesday– Saturday, from 10am- 5:30pm.

PHOTO-EYE GALLERY

1300 Rufina Circle, Unit A3, Santa Fe, NM 87507

For more information, and to reserve one of these unique works, please contact

Gallery Director Anne Kelly

You may also call us at (505) 988-5152 x202

Since the 6th century, calligraphy has been a revered art form in Japan, following its introduction by Chinese masters. Today, it reflects the influence of Japanese Zen Buddist philosophy, where artists clear their minds to allow each character to arise spontaneously, committing it to paper in fluid motions. Yhohei Teradam, an esteemed calligraphy teacher at the University of Toyama, began teaching his daughter Chaco the art when she was only four years old. In her early twenties, Chaco would bring her passion for calligraphy to the United States and combine it with a new love: photography.

Chaco Terada has always been captivated by the way the lines of folded calligraphy paper showed through when held up to the light. Inspired by a poetry book that merged text and images, she developed a process that combines Sumi ink calligraphic mark-making with black-and-white photographic images printed on sheer silk, producing unique vignettes. Her subjects include landscapes, portraits, flowers and other imagery that is shrouded and obscured, their details blurred by layers of silk. Each layer of silk is then stretched between 8-ply matboards, like a canvas so that each semi-transparent layer of silk interacts with each other. The calligraphy is often painted on multiple layers, giving the impression of free-floating thoughts in the atmosphere. The spaced layers add depth to the images, and the silk adds an ethereal, atmospheric quality to the photos.

Terada's brushstrokes derive from characters with multiple interpretations, creating impressionistic takes on mood and feeling. She says, "My calligraphy is influenced by life experiences. When I create a brushstroke, I think of the motion of water in a stream or the movement of a breeze. My lines do not create a word in the traditional sense; they interpret the meaning or mood that I feel the word represents."

>> To learn more about represented artist Chaco Terada, click here <<

>> To view more of Chaco Terada's work, click here <<

Gallery Director Anne Kelly and Gallery Assistant Jovi Esquivel share their thoughts on their favorite piece. To fully appreciate Terada's work and the interplay between the layers of silk, they should be experienced in person.

Chaco Terada, Little Fox, Sumi & Pigment Ink of Silk, 10 x 7½" Image, Unique Object, $1800

As the gallery director at photo-eye, I have the opportunity to form a relationship with the artists we represent, which includes hearing stories that are typically not included in general artist statements. These stories help provide a more complete comprehension of an artist's work, so I like to share them alongside experiences whenever possible.

Chaco Terada's relationship with photo-eye dates back about 15 years. Over this period I have thoroughly enjoyed getting to know Chaco, watching her career blossom and her art-making process evolve.

Chaco began producing art at age four when she began her studies in the ancient art of calligraphy. In her twenties, her calligraphy skills presented the opportunity to travel. Chaco eventually decided to settle in the United States, where she developed a passion for photography, which she began incorporating into her brushwork. In this new process, she moved away from traditional characters, which can be literally interpreted, into a new free-form version of calligraphy that she considers meditative mark-making. These marks benefit from a mastery of the ancient art of calligraphy but are not bound by traditional rules.

I would like to highlight Little Fox, for I see Chaco in all of her images but particularly this one. I perceive Little Fox, as a portrait of the artist, but not in the literal sense. Foxes, known as kitsune, often appear in Japanese folklore and are believed to have paranormal abilities such as shapeshifting. Chaco possesses many positive characteristics associated with foxes. Chaco is cunning, playful and resilient.

This piece was made in 2020 when most of us were in quarantine. During this time Chaco revisited images from the past, looking for new inspiration. In this process, she came across a photograph that she had made of an Oragomi fox that was photographed on a trip to Japan the year prior and decided to work with that. The final image depicts the origami fox framed by silhouetted foliage. The origami fox appears to be looking out a window and dreaming of returning to the forest to play.

Because Chaso's images are composed by stacking multiple layers of semi-opaque silk, the individual elements become one, they are capable of representing not just one moment in time but multiple places within the same frame. Her past, present and future are illustrated in a single image.

—Anne Kelly

Chaco Terada, Sounds of Silhouette, Sumi & Pigment Ink on Silk, 10 x 7½ Image, Unique Object, $1800

I feel a profound connection to the wind, which beckons me to dream and awakens all of my senses. Living in New Mexico, I cannot escape the dramatic interplay of light and sound shaped by the forceful will of the wind as it moves through the tall Cottonwood trees. The artwork titled Sounds of Silhouette amplifies this connection for me. The work appears to be a vignette of leaves and branches that have been printed on multiple layers of silk, creating a sense of depth and varying densities that mirror the way light moves through trees. Against this backdrop of light and shadow, Chaco's hand emerges with iridescent calligraphic strokes, capturing the essence of wind whispering through leaves.

Chaco's process of combining calligraphy with photography on silk produces an otherworldly quality that draws me into the artwork and makes me feel connected to the natural world.

—Jovi Esquivel

If you are in Santa Fe, please stop by during gallery hours or schedule a Virtual Visit here.

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Print costs are current up to the time of posting and are subject to change.

For more information, and to reserve one of these unique, extraordinary new works,

please contact photo-eye Gallery Director Anne Kelly

photo-eye Gallery

1300 Rufina Circle, Unit A3, Santa Fe, NM 87507

Tuesday– Saturday, from 10am– 5:30pm

You may also call us at (505) 988- 5152 x202

Mitch Dobrowner, Volucris in High Desert, Trementina, NM, 2023, 15.5x30", Edition of 15, $2,500

"Our job is to record, each in his own way, this world of light and shadow and time that will never come again exactly as it is today."
—Edward Abby
1927- 1989

Mitch Dobrowner, Torqueo Over Plains, Wagon Mound, NM, 2023, 10.5x20", Edition of 15, $2,500

Mitch Dobrowner, Asperitas Cloud, Seibert, CO, 2023, 20x30", Edition of 15, $2,500

photo-eye Gallery is proud to represent artist Mitch Dobrowner.

>> See more images by Mitch Dobrowner <<
>> Learn more about Mitch Dobrowner <<

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PRINT COSTS ARE CURRENT UP TO THE TIME OF POSTING AND ARE SUBJECT TO CHANGE.

* * *

If you are in Santa Fe, please stop by during gallery hours or schedule a Virtual Visit HERE.

For more information, and to reserve one of these unique works, please contact

Gallery Director Anne Kelly or Gallery Assistant Jovi Esquivel.

You may also call us at (505) 988-5152 x202

photo-eye Gallery

1300 Rufina Circle, Unit A3, Santa Fe, NM 87507

Tuesday– Saturday, from 10am- 5:30pm

Maggie Taylor, The Next Big Adventure, Archival Pigment Print, 22x22", Edition of 10, $5,000

photo-eye Gallery is thrilled to unveil a collection of five new images

by represented artist, Maggie Taylor!

Amidst the captivating ensemble of five images, one has deeply stirred my senses — The Next Big Adventure. This spellbinding tableau unveils a scene that is both curious and magical, inviting us to lose ourselves in its intricate tapestry of history and fantasy.

A young boy stands within an era-defying tableau. By his side, a canine companion adorned in whimsical 17th-century attire forms a charming pairing, sparking intrigue and igniting the imagination.

The foreground is dominated by a platform lavishly adorned in resplendent jacquard fabric, a touch of opulence that underlines the scene's grandeur. Upon this platform, his regal companion takes his seat. Yet, what truly captures the essence of this mesmerizing artwork is the juxtaposition it presents — an old wooden boat rests on one side of the platform, while the other is graced by the presence of the charming duo that stares back at the viewer. The interplay between past and present, of reality and the ethereal, infuse the piece with layers of meaning waiting to be unraveled.

As your gaze ventures beyond this intriguing tableau, the background unfolds a dreamlike tapestry reminiscent of a 17th-century masterpiece. Graceful sailboats adorn the bay, evoking a sense of timeless beauty, while a surreal and whimsical sky unfurls - a canvas of stars and a moon borrowed from the realm of dreams transport us. It's as though we're peering into a portal, catching a glimpse of the boy's very own fantasy world.

But what anchors us firmly in this captivating scene are the vibrant, red-tinted goggles, worn by both the boy and his four-legged companion. A visual thread connecting past and present, these goggles draw us back to the ornate tapestry in the foreground, weaving the elements of the image into a harmonious whole.

As you venture deeper into this collection of new images, each image will unravel another layer of Maggie Taylor's enigmatic vision, inviting you to wander through a landscape where reality and imagination entwine.

>>New Work & AI: Interview w/ Maggie Taylor | BLOG <<

Maggie Taylor, The Gatekeeper, Archival Pigment Print, 15x15", Edition of 15, $3,200

Maggie Taylor, The Daydreamer, Archival Pigment Print, 15x15", Edition of 15, $3,200

Maggie Taylor, It's My Party, Archival Pigment Print, 15x15", Edition of 15, $3,200

Maggie Taylor, Welcome to the Water Planet, Archival Pigment Print, 8x8", Edition of 15, $1,700

photo-eye Gallery is proud to represent artist Maggie Taylor.

>> More Images by Maggie Taylor <<

>> Buy Maggie Taylor's book Internal Logic <<

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The prints from this series are Archival Pigment Prints

8x8", Edition of 15, Starting at $1,700

15x15", Edition of 15, Starting at $3,200

22x22", Edition of 10, Starting at $5,000

36x36", Edition of 9, Starting at $9,000

(Select images are also available 48x48" as dye sublimation on aluminum for $12,000)

(Select images are also available 58x58" on paper for $15,000)

PRINT COSTS ARE CURRENT UP TO THE TIME OF POSTING AND ARE SUBJECT TO CHANGE.

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For more information, and to reserve one of these unique works, please contact

Gallery Director Anne Kelly or Gallery Assistant Jovi Esquivel.

You may also call us at (505) 988- 5152 x202

photo-eye Gallery

1300 Rufina Circle, Unit A3, Santa Fe, NM 87507

Tuesday– Saturday, from 10am– 5:30pm

Mitch Dobrowner, Supercell Swirles & Lightening, Clayton, New Mexico, 2022, 20x30", Edition of 25, $2,500

In case you missed it, we're happy to share the recording of our live Zoom conversation with Mitch Dobrowner, the first segment of photo-eye Conversations: LIVE!

The Zoom gathering was a relaxed chat between Gallery Director Anne Kelly and photographer Mitch Dobrowner, followed by a Q&A.

Dobrowner has been traveling across the country with professional storm chasers for over a decade with the goal of capturing the calm amidst the storm. Though this seems counterintuitive, Dobrowner's hyper-technical approach and incredibly focused compositional eye enable him to find a sense of grounding even during the most extreme weather events. The translation of this imagery into flawless black-and-white prints provides the viewer with that same sense of peace, even among the chaos, a moment of stillness can always be found.

>> See more images by Mitch Dobrowner <<
>> Learn more about Mitch Dobrowner <<

Mitch Dobrowner was born in 1956 in Long Island, Bethpage, New York. Worried about Mitch's future and the direction his life will take, his father decided to give him an old Argus rangefinder to fool around with—little did he realize that it would become a significant gesture for Mitch. After doing some research, and seeing work by Minor White and Ansel Adams, Mitch quickly became addicted to photography.

Years later, in early 2005, inspired by his wife, children and friends—he again picked up his camera. Working with professional storm chaser Roger Hill, Dobrowner has traveled throughout Western and Midwestern America to capture nature in its full fury; making extraordinary images of monsoons, tornados, and massive thunderstorms with the highest standard of craftsmanship.

Dobrowner’s Storms series has attracted considerable media interest from National Geographic, Time, and New York Times Magazine, among others. In August of 2022 a print of the image Rope Out, from a private collection, has been acquired by the Philadelphia Museum of Art. Other museums that have acquired Mitch's work include The Center of Creative Photography, Tucson AZ; The National Gallery of Art, Washingon D.C.; The Museum of Fine Art, Houston TX; Cleveland Museum of Art, Cleaveland OH; Portland Museum of Art, Portland OR; Santa Barbara Museum of Art, Santa Barbara CA; and the Middlebury Museum of Art, Middlebury VA.

He lives with his family in Studio City, California.

photo-eye Gallery is proud to represent artist Mitch Dobrowner.

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SAVE THE DATE!

photo-eye Conversations: LIVE w/ Kate Breakey

August 17, 2023 / @6pm MT

via Zoom

RSVP

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PRINT COSTS ARE CURRENT UP TO THE TIME OF POSTING AND ARE SUBJECT TO CHANGE.

* * *

If you are in Santa Fe, please stop by during gallery hours or schedule a Virtual Visit HERE.

For more information, and to reserve one of these unique works, please contact

Gallery Director Anne Kelly or Gallery Assistant Jovi Esquivel.

You may also call us at (505) 988-5152 x202

photo-eye Gallery

1300 Rufina Circle, Unit A3, Santa Fe, NM 87507

Tuesday– Saturday, from 10am- 5:30pm

Social Media

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Print costs are current up to the time of posting and are subject to change.

"Our job is to record, each in his own way, this world of light and shadow and time that will never come again exactly as it is today."

photo-eye Gallery is thrilled to unveil a collection of five new images

by represented artist, Maggie Taylor!

SAVE THE DATE!

photo-eye Conversations: LIVE w/ Kate Breakey

August 17, 2023 / @6pm MT