“As I write this correspondence, the blind is down, covering the window to the right of my desk. The window is open and the screen projects a moiré-patterned shadow onto the fabric of the blind. This image fluctuates in and out of focus as it breathes with the wind. The lattice outside the opposite window is bending, warping under the weight of nature. And at this late, subterranean time of day the distinction between the orderly framework of the lattice and the entangled labyrinth of Wisteria vines is unclear. The two structures are blending into one another, forming a solid inky mass outside the bay window of my studio. This impression lasts for a few moments before sinking into the night. Focus. The screen is a filter – a grid maintaining repetition, order and control. Folded, warped and tangled, it creates visual noise, disturbances and interference. It becomes a dragnet, a visualization of chance-based actions within a repetitious structure. The grid is a lattice, a support system for nature; being constantly broken and sculpted by the persistent and omnipresent activity of the natural order.”

—Bryan Graf, on Broken Lattice

” Pine Tree Ballads is a poetic vision of land, family, and time. A small farmhouse on Gray’s Point is surrounded by a dark forest of ancient pines struggling against the incessant nor’easter gusts of the Atlantic Ocean. History creaks in the swaying limbs of this land where generations of my family have discovered moments of wisdom, adventure, fear, and the miraculous. In this place, stories have arisen from the mouths of both the young and old, and over time have become the essence of a family’s identity. Pine Tree Ballads offers one of many poetic interpretations of my experience on this homestead. It is a unique memoir weaving the magical aura of an ancient, shared, historical record with the mysterious dreams met on dark moonless nights when one does not know if their eyes are open or closed.”

—

Pine Tree Ballads marks the third show organized as part of the Conveyor Exhibition Grant, an annual opportunity which awards one photographic-based artist with the unique opportunity to produce and exhibit a recent project with the curatorial, print and production resources of Conveyor Arts. This year the panel of jurors included Sam Barzilay, Creative Director of United Photo Industries; artist and photographer, Hannah Whitaker; photographer and previous Conveyor Exhibition Grant recipient Andrew Frost; as well as Jason Burstein and Christina Labey, founders of Conveyor Arts. 

Paul Thulin is a photographer whose work has been exhibited nationally and internationally, in venues including: Miami Scope, Candela Gallery, Chicago Art Fair, and the Toronto Art Fair. He is represented by Modernbook Gallery in San Francisco, California, and ADA Gallery in Richmond, Virginia. He currently lives in Richmond, Virginia and works as the Graduate Director of the Department of Photography and Film at Virginia Commonwealth University. 

Conveyor Arts is an organization dedicated to supporting photographic-based artists through production, exhibition and publication of new work in the medium. For further information about the exhibition, please contact Christina Labey at christina@conveyorarts.org. For information about the Conveyor Exhibtion Grant visit www.conveyorarts.org

United Photo Industries is a Brooklyn-born, art-presenting cooperative dedicated to identifying, harnessing, and occasionally conjuring unexpected exhibition opportunities. All in the name of fostering conversation, championing new directions in photography, and cultivating ties within an ever-expanding, globe-trotting community of photographers.

Pine Tree Ballads
Photographs by Paul Thulin 

On view through Saturday, May 18th

UNITED PHOTO INDUSTRIES
111 Front Street, Suite 204
Brooklyn, New York  11201

Monday - Friday 12:00 - 6:00PM
Saturday - Sunday 12:00 - 5:00PM

www.unitedphotoindustries.com

Our sense of wonder and fear is most palpable when our visions are fleeting…

In the forthcoming issue of Conveyor, we will be searching for moments when the properties of a spectre, that which dissolves from our sight, and a spectrum, a continuum or perfection of vision, overlap and counterbalance each other. The trespassing of these apparitions between the material and immaterial worlds can be equally thrilling and terrifying, amorphous and yet revealing.

We’re looking for absorbing and unexpected sights - phantom or prismatic images, atmospheric phenomena, news from a secret admirer or an absent friend - things that remind us of sidelong glances, illusory dreams, primal discoveries, and ghosts in the machine. They can appear abruptly or be gently delivered; they can range from electrified vision to muted whisper, from stark revelations to those that bleed together.

—

HOW TO SUBMIT YOUR WORK

IMAGES

- 10 jpgs maximum (1000 pixels each on the longest side)
- List of Images (include Title, Year, Media, Dimensions for each image)
- Short statement (150 words) + Artist’s CV

EMAIL SUBMISSION MATERIALS IN A ZIP FILE TO:
SUBMISSIONS@CONVEYORMAGAZINE.ORG


WRITING

- Proposal (350 words) for an article or essay on the theme of Spectre//Spectrum
- CV and Bio
- Writing Sample

EMAIL PROPOSAL MATERIALS TO: 
EDITORS@CONVEYORMAGAZINE.ORG

SUBMISSION DEADLINE: May 19th, 2013 at Midnight PST

—

—

Conveyor Magazine is a publication that traverses the junction of photography, philosophy, and the metaphysical. Within each issue, images and ideas surrounding a chosen theme come together in a series of new projects, interviews, articles, and essays by contributors who strive to bring new ideas on photography to light. The publication is printed and bound at Conveyor Arts.

For the next issue of Conveyor Magazine, themed Spectre // Spectrum, we are seeking photographs, prints, stories, and essays, that share ideas and images of the color spectrum. This month, Design*Sponge is also investigating the idea of color, below are a few excerpts from their Color of The Day series. 

Hello Ruth Van Beek,

From the series Explosions, 2008

Ruth van Beek uses photographs as if they were objects, composing with a style that recalls the Dadaist “cut & paste” techniques of Surrealism. Gathering images from old newspaper clippings, books, and photo albums, she manipulates and re-contextualizes in ever evolving dialogue between image and object.

From the series The Great Blue Mountain Range, 2009

Through the visibility of hand to paper, paint, folds, and cuts, she creates an ephemeral layer of new meaning. Ruth introduces us to a new range of images where faces disappear, flora morphs into machine, and animals sprout robotic appendages.

From the series Hibernators, 2010

Ruth dissects these once treasured pictures and rearranges them to find what she considers the story behind the photo. While some images show the wear of construction like a worn handkerchief,

From the series The Great Blue Mountain Range, 2009

others play with the  amusement of scale and form.  Ruth rearranges and disjoints the story in each photograph, resulting in conclusive assemble of reappropriated narrative.

While the resonance of past of remains present in the photographs, Ruth’s images create a map of that past meeting the future. The metamorphose of collection speaks to a dream world in which futurism seems woven into waning nostalgia.

Zebra-Airplane, from the series Safari, 2007

Ruth’s photographic practice  has led to a plethora of book publications as well.  “A book is like a house for a photograph, and the small-edition books are little experiments,” she says. “Most of the images I use in my work come from books – I cut them apart and the books disappear, so I like to give the images back in a new book.” The Hibernators Published 2011 by RVB books,

Through another layer of the book as a living archive, Ruth’s work is effectively stronger as a bound artifact or freestanding image. Her most recent series The Arrangement, images excavated from 1950s Japanese flower-arranging guides, will be published this summer by RVB Books in Paris.

From the series The Arrangement, 2012

Through all Ruth’s images, found and constructed, an intimate family of collage is born.  It is world of exposed seams, where contemporary and timeless are met by new and unfolding encyclopedic wonders.

From the series Accidents from the greenhouse, 2013

Bunnie, 2006

To see more of Ruth Van Beek go here: {www.ruthvanbeek.com}

More Here: bdunne.com