A r t R e v i e wLandEscapeAnniversary Edition, a work by ARTALEXANDRA GALLAGHERHAVA ZILBERSHTEINRICH SMUKLERJJ HARTYHADASSA WOLLMANNADAV OFERDAVID FERUCHRUDY KANHYERICARDO FASANELLO
SUMMARYC o n t e m p o r a r y A r t R e v i e wSpecial IssueRudy’s interest in theimage as a field ofnarcissistic and inexistentspaces or non-spaces, inbetween reflections and[lost] partial objects wasexemplified in his serialworks made in England,that were equallyconcerned with the loss ofany kind of visualrepresentation of theimage itself.What the imagepresented as void orelusive/ Rudy questionedthe success of works ofart that figure asperforming a socialinterpolation - whichproposed an overidentification within thestatus quo - or thesymbolic order of acommunity - where theloss/destruction of theimage, or the memory isre-enacted in terms of acollective memory.Nature is my images provider, on one hand I amtied to the nature (figuresand proportions) but onthe other hand I dismantle, delete and reassemble it the way I feel. I amcreating a kind of havoc,releasing while contrasting, cutting and ripping,in order to create a newcontext and meaning. Theimages in my work aretaken to dramatic anddynamic places, to disastrous situations such astumble, storm, pain andescape.The variety of materials,techniques and thedifferent ways of printmaking, create enormousstimulations with whom Iam talking and sometimes\"struggling\". Sometimesthey govern and I amdominated and sometimesthe opposite. Familiaritywith them is not easy, butthe resulting surprisesinduce great pleasure.Hava ZilbershteinIsraelTo graze and gaze inpastures of darkness. Vast,magical expanses, dim,deterring, threatening,albeit tempting one to divefar and deeply into them.Wide fields extendingbeyond the known, an allembracing infinity attracting onwards and onwardsto graze within it, in thevisions beyond theimagination. A surprisinglydifferent place inviting oneto be drawn inside, to beswept away in the fields ofdarkness. At first darknessis complete. One cannotdiscern a thing, opacity,opacity, opacity, and thencomes one blue, deceptive,purplish, concealingsecrets of deep red andgold. And then anotherblue, different, and anotherblue, indigo, ultramarine...the darkness blurs andclears, shines up gradually,exposing and revealinghow the illumined risesfrom the opaque.Hadassa WollmanIsraelOne day, as Feruchwas shooting abeautiful girl against awhite background, hehad the desire toimport the image ontohis computer in orderto create asophisticated universefor his muse. It was theearly 1980s andFeruch was one of thefirst artists to hop ontothe digital bandwagon.His process includedscanning his collages,reworking them on thecomputer, and printingthem on aluminumsheets. In a constantback and forthbetween the physicalimage and thecomputer, he createdhis unique technique.His fantastical imageswere destined to leadFeruch into the worldof abstraction.David FeruchFranceRich SmuklerUSARudy KanhyeUnited KingdomAlexandra Gallagher'swork celebrates thesurreal and bizarre.Between the realms ofmemory, dreams andexperience, her worklooks beyond our limitsand often tells a story ofinner imagination andthought. \"I take influencefrom everything aroundme - like every artist.Fashion, design, otherartists, music, culture,society etc. Everything Isee, hear and talk about.It all influences what I do.From a short abstractconversations with astrangers, to memories Ihave as an individual... weall have a story to tell,something interesting thatis unique to all of us, as anindividual. I love peoplewatching. Looking atpeople and seeing how Icould translate that into apiece of art - from my ownperspective.Alexandra GallagherGermanyLand scapeCONTEMPORARY ART REVIEWERich Smukler hasblended his life-longpassion for art andphotography. His workshave been featured innumerous museums,galleries and privatecollectionsinternationally. While hiscutting edge passion forgraphic design hasearned him accolades andawards for innovativestyle, his genre as a fineart photographerencompasses photorealism to abstractgraphic design. A love ofTuscany has taken himback to bella Italia onmany occasions, camerain tow, in search of yetanother perfect moment.He has drawn inspirationfrom such greats as Miro,Kandinsky, Pollock, JoanMitchell, Arno Minkkinen,Sandro Santioli & CartierBresson.
Special IssueSUMMARY426Rudy Kanhyelives and works in Glasgow, ScotlandHava Zilbershteinlives and works in Tel Aviv, IsraelRich Smuklerlives and works in Boca Raton, Florida, USAHadassa Wollmanlives and works in Tel Aviv, IsraelDavid Feruchlives and works in Paris, FranceJJ Hartylives and works in USAAlexandra Gallagherlives and works in Lancashire, EnglandRicardo Fasanellolives and works in Rio de Janeiro, BrazilNadav Oferlives and works in Israel466284116162122150Special thanks to Haylee Lenkey, Martin Gantman, KrzysztofKaczmar, Joshua White, Nicolas Vionnet, Genevieve FavrePetroff, Sandra Hunter, MyLoan Dinh, John Moran, MaryaVyrra, Gemma Pepper, Michael Nelson, Hannah Hiaseenand Scarlett Bowman, Yelena York Tonoyan, Haylee Lenkey,Martin Gantman, Krzysztof Kaczmar and Robyn Ellenbogen.My work deals with the joyof discovery, the beauty ofthe mundane, and theimpermanence of theworld around us. There issomething interesting tobe found in thetemporality of our world.My work exposes theabsurdity of our dailyexistence, ourinattentiveness to theworld around us, and thefleetingness of memoryand time. It highlights themundane and relishes inthe discovery (andrediscovery) of objects andspaces taken for granted,ignored, or forgottencompletely. Texture, line,and shape come togetherin these spaces andobjects like visual poetry.By connecting to spacesand objects andinteracting with them—apersonal mark is added toenhance, repair, orpreserve them.JJ HartyUSARicardo FasanelloBrazilMemory being a componentof photography, is a popularnotion. That photography issomething of an efficienttrap of our surroundingreality. But memory, eventhe photographic kind, isselective and can lead astray. My work \"Proof\" is aboutthe deception ofphotographic memory, thedisability of photography toserve as a reliable source. Ichose well-known historicalphotos and changed themthrough shooting andreprinting, in keeping withthe photo's realism. Thevideo art \"The Same Sea\",where the sun rises in thewest, also conveys this.Through the creation of art, Ihave a dialogue with myself,but it is a conversationspoken out loud, and in theend, everyone is listening .Artists create out of aninternal need, but everywriter wants to be published.We want to exhibit, and getfeedback on our work, notout of pretensions.Nadav OferIsraelon the cover , a work byLand scapeCONTEMPORARY ART REVIEWEThe search for languagehas always been adetermining factor in mywork. Even as I worked inEditorial and Advertising,my intention was that thissignature becameapparent in the work itselfas well as in the trajectoryof the process in whichthe work comes to life. MyPhotography is romantic,simple, lyric, yet direct.One finds traces ofsophistication, which arederived from the technicalprecision with which thework is produced, but itis, in essence, pure. Theidentity of an organic andsensitive language is,undoubtedly, the force ofa work, which isconfronted at all timesbetween the techniqueand the message. Thepower of images lies intheir substance, in therhetoric of beauty and theforce of contradiction, anexpressive mark of mywork.
objects was exemplified in his serial worksmade in England, that were equally concernedwith the loss of any kind of visualrepresentation of the image itself.What the image presented as void or elusive/Rudy questioned the success of works of artthat figure as performing a social interpolation- which proposed an over-identification withinthe status quo - or the symbolic order of acommunity - where the loss/destruction of theimage, or the memory is re-enacted in terms ofa collective memory.In his photographs absence and presenceoften exchanged places in a way that inducedmelancholia as a ‘preferred’ thinking about theimpossibility of a space of exchange, howeveras an exemplary position in [post]modernistphotography. These works are composed alongviewpoints that hold their distance from directcontact, often veiled or suggesting somethingmissing [as in Antonioni’s cinematic montagefor example] or no longer available to sight, orjust out of sight.(...) Rudy questioned the success of works ofart that figure as performing a socialinterpolation - which proposed an overidentification within the status quo - or thesymbolic order of a community - where theloss/destruction of the image, or the memory isre-enacted in terms of a collective memory. Abreak of the trauma of forgetting performed inthe use of simulacra [like opposing cinema totheatre and intentionally reframing therelations to the viewer position]. Thephotograph is staged in between theseexperiential and disembodied forms ofengagement with a viewer or audience, onceremoved from an assumed role or identification.Some of Alfredo Jarr’s projects come to mindwith the kind of work Rudy might find importantin the future in relation to how his interest inphotographic installations is to be constructed, -his work is ‘politicised’ in the sense of dealingwith 'projects' where there are indistinctrepresentations / disappearances, or exclusions– presenting ideological silences by extremereduction or concealment. Art and politics arein awkward relation.The idea of voiding, [which initiates a politicalproblem] of incorporating exclusions, orexceptions to the community, is also written inthrough Badiou's work on proposing anaffirmative aesthetics. Rudy had studied someof these theories, suggesting material to helpdevelop his own interpretation or to understandhow to arrive at properly installed photographicworks / texts in situ, in the ‘locus’ of a place, ifthe work itself is to be concerned the non-placeor the amnesiac history, withoutdocumentation. Documentary photography andfilm poses the problem of fiction and imaginarywithin the assumption of ‘reality’.\"udy’s interest in the image as afield of narcissistic and inexistentspaces or non-spaces, in between Rreflections and [lost] partial 2014LandEscapeCONTEMPORARY ART REVIEWRudy KanhyeLives and works in Glasgow, Scotland, United Kingdom
Rudy Kanhye LandEscapeCONTEMPORARY ART REVIEW
Hi, thank you very much for havingme, and giving me the opportunityto be part of this new edition.I struggled to find my position whenI was in France, and moving toEngland made me realize what mywork was about in a way. And Ithought that I needed that\"institution\" to help me in mydemarche artistic. That cursus that Ifollowed help me in the realizationof bigger project, I did my residencyin Albany New York in 2015 while Iwas doing the APD.Rudy KanhyeAn interview by , curatorand , curatorLandEscapeCONTEMPORARY ART REVIEWLandEscape meets
Christopher Reid LandEscapeCONTEMPORARY ART REVIEW
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It helps me to focus on art really.the training I had is really importantto understand where I come fromand understand my work. By doingthat I was able to see different artscene as well, and meet differentpeople. And all that build my work ina way.I find myself using book and otherreading as a start of a project, ormaking a liaison in the work. Andthat influence my work every day. Ithink that you need to be aware asan artist of the history of art orphilosophy to be able to product inmodern time project.I start to see more about the ideas Iwas interesting, and read a lot, tryto learn different notion, situation,time and space, open form,postmodernism...That was veryimportant for me to do thatbecause, It gave me the freedom towork, to express myself and talkabout idea in modern situation.LandEscape Rudy KanhyeCONTEMPORARY ART REVIEW
Rudy Kanhye LandEscapeCONTEMPORARY ART REVIEW
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As long as I can remember I always beeninteresting with images, Photo, video,print... When I was in art school I focuson the video media and so photographytoo. It was for me the best way toexpress idea. We live in the generationof images, photography is everywhereand everybody do it. I like that idea ofmass production common to everyone. Ibecame really interesting on therepresentation of something, and that'swhy I found photography so powerful. Itgives to see something else and there isa real relationship with the viewer. I havebeen really influence by Roland Barthesor Bergson on the idea of images, and Ithink that's why I use photography, it hasa real potential of seduction.It is true that I use photography a lot inmy work but I am not considering myselfas a photographer. I don't think I have aparticular medium but try to represent inthe best way an idea.Rudy Kanhye LandEscapeCONTEMPORARY ART REVIEW
I am working without a properprotocol. I start by thinking of anidea and how I can talk about it. Iam always inspired by things I see,in the street or read. I think a lotbefore making something, and Ithink that the process of creation isLandEscape Rudy KanhyeCONTEMPORARY ART REVIEW
really important in my work. ForTalking picture, I really wanted to goback to a pictorial approach that Ihaven't been doing really. I wantedto talk about images on differentlevel of comprehension, and I find abook in my room call TalkingPicture. I had that book for 5 yearsand I just looked at it for a while andI decide to use it. I was interestingRudy Kanhye LandEscapeCONTEMPORARY ART REVIEW
on the photography of that book,important photography of thehistory of photography. But for me itwas more about the hierarchy thatthose photography embodied. And Idecided to break in a way thathierarchy of noble images, usingpainting as an abstract tool creatinga new esthetic of the image, a newphotography. Creating a newdialogue really.LandEscape Rudy KanhyeCONTEMPORARY ART REVIEW
The work of Thomas Demand isreallyRudy Kanhye LandEscapeCONTEMPORARY ART REVIEW
interesting in the way that he usesmemory to recreate spaces that heencounters and take a photo of thatmodel. I am Thinking of SiegfriedKracauer and his comparisonbetween memory and photography.Memories are only incompletefragments to the photographer andoften without a spatialrepresentation. They appear asfragments, though, only because amechanical process likephotography does not understandmeaning and so cannot incorporateit. However, when memoryfragments are associated with acommon meaning they become arelational whole. My work is quiteclose to that idea and I think that itis important to consider that ideawhen making images.I have been always interesting inthe non-lieu, the heterotopia space,all those spaces in marge of reality.I think it's a real poetic idea to seethe artist in that sense, and that canbe reference with Baudelaire idea ofthe Flaneur.For me it is really important to workwith those space, and in that projectthat's exactly what I had in mind,reveal something, or maybe makingit seen for another perspective. It'sfunny because I am re-reading MarcAugé’s book at the moment. I thinkthose question are really importanttoday.Memory I think is what is base to myresearch in general. Memory is themost important aspect here I think,because it brings the inconscient onthe first plan. A space and a timegiven is always reference in mywork, as an action past, a momentof crystallization sometimes asStendhal talk about. ThoseHeterotopia space are fascinatingbecause they don't alienate conceptand are ambiguous, they transposeidea at a different level ofcomprehension.LandEscape Rudy KanhyeCONTEMPORARY ART REVIEW
Rudy Kanhye LandEscapeCONTEMPORARY ART REVIEW
Escape Rudy KanhyeCONTEMPORARY ART REVIEWLand
Rudy Kanhye LandEscapeCONTEMPORARY ART REVIEWImages are the receipt of the work.They exist as a model, a seductivemodel. What I always try tocommunicate is outside the frame, inthe process work. I am moreinteresting in the concept that theproduction itself in a way. So I oftenuse a representation to evoke moreabstract notion
LandEscape Rudy KanhyeCONTEMPORARY ART REVIEWDefinite maybe not but alwayspresent yes. The environment iswhat makes the works exist, (studio,street, park...) in that sense yes therelation is really important. It is thestarting point of a lot of my work.Work in situ or influence totally bythe place where the idea come andevolving but related always with thefirst space of creation or instinct of anotion to elaborate.Yes. I am not doing art just formyself and I am not doing art fordoing it, it is more a urge that I feel.It is always important to consider theviewer, and work whit it. I am reallyclose to the audience that see thework, without that idea, as an artistyou can get lost in your bubble andseparate yourself from the world.And that should never be the case, Itry my best to reflect with modernidea and interrogation in all myprojects. But of course yes, withoutthe audience I will just be making artin my room (witch is good) but notgood enough for me.At the Moment I am interesting inthe action of creativity, and the factthat everybody is creative in the dayto day life. I am working on anedition gathering artist around thatsubject ( artists I met during school,residencies or other project.) withphotography and text.An interview by , curatorand , curator
Rudy Kanhye LandEscapeCONTEMPORARY ART REVIEW
22An artist's statementLandEscapeCONTEMPORARY ART REVIEWHava ZilbershteinLives and works in Tel Aviv, Israelpreferred to devote myself to art only.In the last fifteen years I create my works by etching on zinc and aluminum plates. This technique is the most suitable to express myself because of the dramatic and powerful character of the black and white textures.In my works I use figures and images made of lines and stains, situated in abstract and vague environment.After twenty years Aof art teaching I Hava Zilbershtein26
Artist Hava Zilbershtein's work challenges the relationship between the viewers' limbic parameters and their cultural substratum to induce them to produce new perceptions. Her figures are made of lines and stains and are situated in the liminal area that establishes a channel of communication between abstract and figurative. In her works that we'll be discussing in the following pages, she walks the viewers through an unconventional, and multilayered aesthetic experience in which she accomplishes the difficult task of transforming a reality into an alternate one: we are very pleased to introduce our readers to her stimulating and multifaceted artistic production.Hello Hava and welcome to LandEscape: before starting to elaborate about your artistic production would you like to tell us something about your background? You have a solid formal training and you graduated from the \"The Midrasha\". How do your studies influence your evolution as an artist? And in particular, how does your cultural substratum dued to your Hebrew roots inform the way you relate yourself to art making and to the aesthetic problem in general?An interview by Katherine Williams, curatorand Josh Ryder, [email protected] ART REVIEWLandEscape meetsHava Zilbershtein
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29Hava Zilbershtein LandEscapeCONTEMPORARY ART REVIEWThe \"Midrasha\" art academy, where I studied in the 70s, and my mentor teacher Raffi Lavie were the first to impart me the language of art. Lavie also introduced me to a group of artists who strongly impacted the Israeli artistic world at those years. This group, called \"New Horizons\", formed the \"Lyric Abstract\" style: Their paintings were characterized by abstract nature but with some nature hallmarks remain in the painting.The group included the famous Israeli artists: Aviva Uri, Arie Aroch, Zaritsky, Stematsky and Meirovich, and later also Tumarkin And Uri Lifschitz.After graduating from the art academy, I mainly affected by other 70s artists in an endless journey in galleries and exhibitions. I used to follow the working methods and the progress of \"adopted\" artists which corresponded to my temperament: Tumarkin, Uri Lifschitz, Ofer Lellouche and Igal Ozeri.Nature is my images provider, on one hand I am tied to the nature (figures and proportions) but on the other hand I dismantle, delete and reassemble it the way I feel. I am creating a kind of havoc, releasing while contrasting, cutting and ripping, in order to create a new context and meaning. The images in my work are taken to dramatic and dynamic places, to disastrous situations such as tumble, storm, pain and escape.The variety of materials, techniques and the different ways of print making, create enormous stimulations with whom I am talking and sometimes \"struggling\". Sometimes they govern and I am dominated and sometimes the opposite. Familiarity with them is not easy, but the resulting surprises induce great pleasure.The size of my works has changed over the years. In the beginning, the intimacy was more important. I was more interested by the texture of lines and stains. In the recent years, I had the desire to break out, conquer and work with large color surfaces and less with delicate expression.Your approach is very personal and your technique condenses a variety of viewpoints, that you combine together into a coherent balance. We would suggest to our readers to visit http://havazil.wixsite.com/hava in order to get a synoptic view of your work: in the meanwhile, would you like to tell to our readers something about your process and set up? In particular, would you tell our readers something about the evolution of your style?I seek not only the What but also and perhaps mainly the How. I inquire and examine, through the print technique, the language of art, to discern such concepts as line, spot, shape and colorI put less emphasis on the subject. This is my way to create a struggle between stains, shapes and lines, between protruding elements accompanied by sharp almost pointy lines and minor elements accompanied by soft, round freehand lines.
The printmaking techniques allows me to create layered texture that intriguers me. Engraving, partial erasing and engraving again on the erased area creates layered and composite work.The printing paper has a major part in the etching work. I typically use the type and color of paper that emphasizes the finesse of the printed work.The body of works that we have selected for this special edition of LandEscape and that our readers have already started to get to know in the introductory pages of this article has at once captured our attention is your successful attempt to produce a dialectical fusion that operates as a system of symbols creates a compelling non linear narrative that, walking the thin line between conceptual and literal meanings, establishes direct relations with the viewers. German multidisciplinary artist Thomas Demand once stated that \"nowadays art can no longer rely so much on symbolic strategies and has to probe psychological, narrative elements within the medium instead\". What is your opinion about it? And in particular how do you conceive the narrative for your works?In my works there are horizontal and diagonal lines that create tension within the calmness of the composition. Typically the lines are thin and delicate but sometimes they become thicker and intense, emphasizing the dramatic narrative and the transition from the calmness to the stormy, from the \"piano\" to the \"forte\".Spots and stains are sometimes in the background while they are light and faded and sometimes outstanding and dominant while they are dark and bold. They are usually almost abstract 30LandEscape Hava ZilbershteinCONTEMPORARY ART REVIEW
but on the other hand they are rather clear and expressive.Empty space in my works increases the strength, the tension and the contrast of the narrative.Your works often encapsulate reminders to reality as figurative elements, still conveying an effective abstract feature: how would you describe the relationship between 31Hava Zilbershtein LandEscapeCONTEMPORARY ART REVIEW
imagination and reality in your process?My work creation starts with sketching elements from the nature, the environment or from my personal experience while dismantling and reassembling them isolated from their natural environment to make them almost abstractive. Later, through connection to 32LandEscape Hava ZilbershteinCONTEMPORARY ART REVIEW
my inner emotions, I engrave the elements on the metal plate accompanied by expressive lines and stains using the available etching techniques.A crucial aspect of your works is the the delicate tension between intuition and sensory information: the power of visual arts is enormous, but the role of the viewer’s disposition and attitude is equally crucial. Both our bodies and our minds need to actively participate in the experience of contemplating a piece of art: it demands your total attention and a particular kind of effort—it’s almost a commitment. What do you think about the role of the viewer?The role of the viewer is to observe the work and trying to \"feel\" it rather than trying to \"understand\" it. The work leaves room for the viewer's imagination to complete the work to his own image.Viewers with artistic sensitivity and engagement, understanding the language of art, will experience the work more intensely.Viewers wishing to fully experience the artistic works should learn about the artist, his work and his artistic background. Participation in gallery talks in front of the displayed works would also contribute to understanding the works and the artist.Your works have on the surface, a seductive beauty: at the same time they challenge the viewers' perceptual parameters suggesting the unseen, establishing a channel of communication between the conscious level and the subconscious sphere: artists are always interested in probing to see what is beneath the surface: maybe one of the roles of an artist could be to reveal unexpected 33Hava Zilbershtein LandEscapeCONTEMPORARY ART REVIEW
sides of Nature, especially of our inner Nature... what's your view about this? In particular, do you think that your works could induce a process of self-reflection in the viewers?My works present a personal point of view of the nature. I am trying to dramatize the simple, banal and \"pretty\" objects (women, flowers, birds) to provoke and doubt the concept of \"beauty\", to stimulate the viewer thinking 34LandEscape Hava ZilbershteinCONTEMPORARY ART REVIEW
43Hava Zilbershtein LandEscapeCONTEMPORARY ART REVIEW
that nature is not obvious and does not look the same to everyone. Such contemplation can lead the viewer to understanding the differences be37Hava Zilbershtein LandEscapeCONTEMPORARY ART REVIEW
tween people and to be more tolerant to others and the environment.For many artists the act of producing a piece, the process, stays in the foreground of the work: but as artist 38LandEscape Hava ZilbershteinCONTEMPORARY ART REVIEW
Gerhard Richter once stated, \"it is always only a matter of seeing. The physical act is unavoidable\". What is your opinion about it? In particular, how does a piece of art could reflect the human connection between the creator and the work?The virgin plate causes me labor pains. Throughout the creation of my etching work the etching plate captures my state of mind. The engravings, etchings, erasures and the dilemmas between them encapsulate my mood.Throughout the physical process of creation that includes acid etching which is not fully controlled, surprising and unexpected elements are formed on the metal plate. Such incidents are called \"art by accident\". The result is disclosed only after the printed work leaves the press. This is the newborn.The creative process is for me a challenge that extracts all my abilities, talents and curiosity into the final work. There is no doubt that the creation process is very significant for me. Nevertheless, the artistic quality of the final product, which is not always under total control, is examined and reworked until it meets my criteria.Over these years you have exhibited in several occasions and you have had eight solo exhibitions. One of the hallmarks of your work is the capability to create direct involvement with the viewers, who are urged to evolve from a condition of mere spectatorship. So before leaving this conversation we would like to pose a question about the nature of the relationship of your art with your audience. Do you consider the issue of audience reception as being a crucial component of your decision-making process, in terms of what type of language is used in a particular context?During the exhibitions the audience showed great involvement and curiosity about the way my work is done, the motives and my unique printmaking techniques.I do not consider and I am not influenced by the public opinion as an essential component of my decision-making process. I purely follow my emotions and intuition during the creation of my works.Thanks a lot for your time and for sharing your thoughts, Hava. Finally, would you like to tell us readers something about your future projects? How do you see your work evolving?I continue to experiment with combining various etching techniques that stimulate me to develop my creativity. I sometimes affected by other's works, nature and foreign cultures that I encounter through my life.The future of my work is uncertain and surprising also to me. I never know where my emotions will take me. It’s a big surprise to me and to the audience.41Hava Zilbershtein LandEscapeCONTEMPORARY ART REVIEWAn interview by Katherine Williams, curatorand Josh Ryder, [email protected]
RLives and works in Boca Raton, Florida, USA
As a young man I was exceptionallyshy and introverted. When my parentsgave me my first camera - a BrownieHawkeye - I found immediate solace inviewing and hiding from the world atthe same time. It became a closefriend that allowed me to enterspheres otherwise unavailable. Theway I looked at the world through alens changed me.An interview by , curatorand , curatorLandEscapeCONTEMPORARY ART REVIEWLandEscape meetsRich Smukler
LandEscape Rich SmuklerCONTEMPORARY ART REVIEW