#73
“THE JOB OF THE ARTIST IS ALWAYS TO DEEPEN THE MYSTERY.” — FRANCIS BACON
WALTER RAEMISCH London, Canada “Waves Off Port Stanley Pier Deconstructed”
CONTENTS 10
BOOK RECOMMENDATIONS by Brian St. Denis
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PORTFOLIO Featuring: Trina O’Hara, Sarah E. Fuller, Pavlo Fyshar, Maryam Firuzi, Rosemary Horn, Diego Fabro, Monica Rooney, Christine Germano, Zelda Zinn, and Ralph Nevins
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CHANGE MADE: MELDING CHANGE THROUGH STORYTELLING by Sid Naidu
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HANNAH MAYNARD’S GEMS by Cassandra Spires
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SPAO: IF YOU BUILD IT THEY WILL COME by Corinna vanGerwen
BENJAMIN FREEDMAN: REAL FICTIONS by Alan Bulley
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EMMA NISHIMURA: STORIES, MEMORIES, HISTORIES by Corinna vanGerwen
DUANE ISAAC: THE SURREAL by Jesse King
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CURIOSITY, WONDER, AND UNMITIGATED OPTIMISM: MARTHA DAVIS An interview with Rita Godlevskis
NATALIE HUNTER: INSTALLATIONS OF LIGHT by Bart Gazzola
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PREVIEW Digital edition preview
ART IN
THE E V E RY D AY
DISCOVER. PL AY.
nikon.ca
ISSUE #73 ISSN 1708-282X
EDITOR/PUBLISHER ART DIRECTOR CONTRIBUTING WRITERS
COPY EDITOR EDITORIAL ASSISTANT COVER IMAGE
Rita Godlevskis /rita@photoed.ca Ruth Alves Alan Bulley Bart Gazzola Jesse King Sid Naidu Cassandra Spires Brian St. Denis Corinna vanGerwen Deborah Cooper Marie Louise Moutafchieva From the by Sarah E. Fuller
series,
CURATORIAL ADVISORY BOARD
Tobi Asmoucha, Patricia Ellah, John Healey, Jonathan Hobin, Vicki Hoysa, Pam Lau, Peppa Martin, Eric Stewart, Mark Walton
WWW.PHOTOEDITORIAL.ART @photoedmagazine photoED Magazine is published in print 3×/year, April, September & November. Publications Mail Agreement No. 40634032 PhotoED Magazine 2100 Bloor St. West, Suite 6218 Toronto, ON M6S 5A5 + FIND OUR DIGITAL REPLICA EDITIONS ON
This issue was made possible with the assistance of the Government of Canada.
From the
LORI RYERSON series, FLOWERING DOGWOOD loriryerson.ca IG: @focalocity
Hangama Amiri
Until 27 April
PARTING/
Erika DeFreitas
and that break is the one that shows (to shift, a curve, to quiver)
Thuy-Han Nguyen-Chi
The blue of the sky depends on the darkness of empty space behind it PROJECT SPACE: Megan Feniak With All Our Vernal Suns 10 February–8 June
@eskerfoundation eskerfoundation.art Erika DeFreitas, The Black Madonnas of Perpetual Murmurs 1, 2023. Courtesy of the artist, and Christie Contemporary, Toronto.
EDITOR’S WELCOME
Photo by Margaret Mulligan
“YOU DON’T TAKE A PHOTOGRAPH, YOU MAKE IT” is a well-known Ansel Adams (1902–1984) quote that would have had a very different audience and intention given the image-making technology of his time. Adams challenged the then mainstream idea that a photograph was a document and confidently stated that the tools he used to record scenes were tools of a fine art craft rather than instruments of factual recording. Photography purists still applaud Adams’ proclamation that photography should be considered an artform; but this quote takes on a bold new meaning now, given the limitless technology options available today to creative practitioners.
From historical processes to AI, the “making of photographs” has never been a more diverse and contentious landscape. New combinations and previously unheard voices present us with truly exciting, fresh conversations. Cameras are no longer even needed to create hyperreal images. “Photographs” are “made” every day at a rate beyond anyone’s comprehension with AI. With the volume of images being “made,” my question is “What are they saying?” What are we visually breathing in from beneath this avalanche? This edition celebrates photo-based artists that dare to meld technologies to craft powerful creative statements. Prolific outsider artist Martha Davis’ dioramas and greenscreen projects are vivid, quickly made sketches that demand attention and slam down really hard conversation ignitions about genuinely important topics: community, seniors, children, our environment, social justice, and more. Natalie Hunter’s work takes a gentler approach, inviting viewers into a physical experience of quiet light and joyful colour. Her work asks us to pause and breathe as we enjoy a rare analog experience. In the context of mainstream conversations arguing the virtues and warnings of AI, Benjamin Freedman’s work questions, and mirrors’ the Ansel Adams’ quote directly. Benjamin’s
fabricated camera-less narratives in the context of contemporary art ask us not to challenge the truth of an image (those days have passed) but present us with a new tool for storytelling our memories, and other narratives that may or may not exist. Emma Nishimura’s multimedia works are a tribute to her family history. Her use of photographic documents in crafting intricate, delicate, beautiful pieces connects the viewer with a very real family wartime story. The images she “makes” blend her story with that of her grandmother’s. Duane Isaac’s work combines the physical craft of mask-making with photography to present viewers with an Indigiqueer perspective that explores identity, culture, and sexuality. All the artists in this edition share practices that are slow, complicated, and layered. Works presented in this issue offer disruptions and diversions from the high-volume digital life quips that we have gotten used to streaming endlessly on our screens. The PORTFOLIO pages in this edition are especially exciting for us, as the artists we present here have been selected by our curatorial team from our first-ever international open call. Looking ahead, our other editions this year will dive into MEMORY — photographs that look backwards to move us forward — and MOVEMENT, meaning community, momentum, and motion. If your work resonates with these ideas, find out more about making a submission on our website. Follow us on Instagram, Patreon, and Facebook, and sign up for our e-newsletter to keep up with all of our adventures!
Your editor, Rita Godlevskis
Did someone say meld? Any Vulcan can tell you that a mind meld isn’t just a passkey into consciousness. It’s also the way great ideas combine. If you’re thinking about merging vintage visual techniques with current social issues, we can get you started. Check out any of the Photographic Historical Society of Canada’s pre-owned equipment auctions and fairs. Consult our website for times and locations.
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• FOR THE DISCERNING. People who value their time and know that you can’t replace a highquality print experience with a virtual doom scroll. • FOR THE COMMUNITY. People who believe conversations about photography should be presented in accessible language. People who don’t like artspeak, but love being introduced to new visual ideas. • FOR THECULTURE VULTURES. People who feel good about surrounding themselves with quality content and ideas. • FOR THE QUALITY CONSCIOUS. People who are passionate about quality storytelling through photography, with editorial integrity at the core. • FOR THE CULTIVATORS. People who celebrate and enable others to share their work despite industry trends, institutional gatekeeping, and popularity-based online algorithms. If all of the above applies to you, you’re in the right place. This independent print magazine is only possible with support from people exactly like YOU. THANK YOU for making the time to read our pages. We are beyond grateful for every submission and creative contribution that has crossed our path— in print here, and behind the scenes. We believe photographs in high-quality print bring new light to meaningful conversations, inspiring positive change in a world that sometimes feels quite dark.
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NEW DIRECTIONS RECOMMENDATIONS FROM THE CONTACT PHOTOGRAPHY FESTIVAL + PHOTOBOOK LAB BY BRIAN ST. DENIS
BOOK OF LIGHT by Aaron Friend Lettner
Self-publishing imprint Dædu “makes unusual books” — a thought that might’ve already crossed your mind if you were looking for a spine, pages, or even a cover to this unique title. Culled from 4,000 negatives, Book of Light is actually a photographic card deck based on the Tarot, allowing the reader to endlessly shuffle the book’s 78 images and change its meaning and structure. With a booklet included that gives context to each image, you can offer Tarot readings to entertain your friends and familiars — or perhaps to predict their future.
2024, 78 cards + 56-page booklet $65 + shipping Dædu Books contactphotobooklab.com
SOUVENIR SERIES
CONTRE-JOUR
by Eric Franciso
by Josée Pedneault
The defining way of sharing one’s travel photos in this era is not by printed albums or postcards, but through the ubiquitous Instagram dump. What a pleasure it is then to encounter a clever photozine that doubles as a memento of the artist’s travels.
As much a calendar as it is a book: this photographic object represents a finite period of time. The results of an experiment carried out in Japan, Josée exposed photograms to sunlight over the duration of her 75-day trip. The joy of this unique book comes from the accumulation of images as you look through it, noticing subtle changes in colour and shape to Rorschach-like photograms, punctuated by her images of cherry blossoms to represent the cycle of day to night. You’ll be tempted to look through it as a flipbook!
Packaged in an envelope ready to mail to a friend (or to keep for ones self!), each edition comes with a risograph zine and four postcards from one place or day of travel. With two travelogues published to date through Reflex Editions, a Torontobased DIY publishing collective, we’re excited to see where Eric heads next.
2023, 64 pages $35 + shipping Reflex Editions contactphotobooklab.com
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2022, 208 pages $55 + shipping Free Pony Press contactphotobooklab.com
Promoting Contemporary Visual Arts Since 1988
PURE INSPIRATION – COMPOSITES by Malin Fabbri
From the folks at AlternativePhotography.com, this book is a collection that encourages experimentation, showcasing stunning artworks that blend multiple techniques. Whether you’re a seasoned artist or a newcomer, this book will inspire you to explore alternative photography techniques and unleash your creativity.
2024, 110 pages Downloadable PDF, $20; hard cover, $56. AlternativePhotography.com
CAMERON D E V E L O P M E N T C O R P O R AT I O N
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BackLight Elite 45L Photo Credit: Dan Carr
CHANGE MADE: A NEW CHAPTER OF MELDING CHANGE THROUGH STORYTELLING BY SID NAIDU AS A PHOTOJOURNALIST with an international development background, I’ve always been drawn to documenting stories in communities with complex narratives. Much of that personal interest stems from growing up in Scarborough, the heart of Toronto’s East. Growing up here showed me how communities that have traditionally been underserved are also the exact places where resilience thrives.
These teachings pushed me to embark on a decade-long journey exploring the arts as a tool for creating change in marginalized spaces around the world. It’s a journey that brought me back home to bring Scarborough Made (SM) to life five years ago. SM allowed us to shift the mainstream narrative of how traditional media reported on our communities. It was a much-needed social impact catalyst that championed documentary storytelling in the East End. We produced numerous mixed-media installations and provided mentorship and employment to the next generation of lens-based creators. TOP: The Change Made installation at the Scarborough Historical Museum at Thomson Memorial Park in Scarborough, Ontario, in November, 2024. ABOVE: CM founder Sid Naidu. Photo by Ferdinand Orlain.
Doing this work from and for my hometown gave me important and impactful learnings about cultivating grassroots organizations, pushing me deeper into my purpose as a documentarian for change. photoED 13
April 1–30, 2025
Presenting Sponsor
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Read Art 20 photoED
IF YOU BUILD IT, THEY WILL COME BY CORINNA VANGERWEN
A ONE-AND-A-HALF-STOREY converted warehouse, tucked away on a residential street in the Little Italy neighbourhood of Ottawa, is home to a unique institution — the SPAO Photographic Arts Centre. The centre houses a gallery, a residency program, and the only two-year photographic arts college diploma program in Canada. The SPAO, Photographic Arts and Production Diploma program draws applicants from around the world, and accepts only 16 students per year into its full-time program. Founded in 2005 by art instructor Michael Tardioli, creative director Khalia Scott, and 20 students who pooled their money to launch it, the school was created to provide an alternative to the commercially focused photographic training offered by other colleges. “The students wanted something special that lived up to their educational expectations,” says Jonathan Hobin, the current creative director of SPAO. “No other program was offering that, so they built it.” That grassroots origin and small student body have allowed a
close-knit community to flourish. “When you have a small group of people and they support one another, they care for one another,” says Jonathan. “You learn about people, you go deep, and you get vulnerable. It really is incredible.” Operating more like an artist-run centre than a typical art school, SPAO’s intimate, collaborative environment fosters cross-pollination of ideas between students of diverse backgrounds and ages. Instructors know every student by name and nurture the vision of each one, providing one-toone mentorship and a safe, supportive space for students to grow and flourish as artists. “It’s a space that feels much more like a home away from home than a college or university campus,” says Jonathan. With a strong focus on process and experimentation, SPAO encourages students to push the boundaries of traditional photographic techniques. In year one, students explore subjects such as portraiture and landscape photography, and learn various technical processes such as cyanotype and dry photoED 21
LEFT: SPAO Open House 2022. Photo by Eric Reid. RIGHT: RAH Artist talk SPAO 2019.
plate. “We believe in the art of craft,” says Jonathan. “If you’re going to be working with photography, you have to understand your tools.” This foundation serves as a catalyst for students to experiment and develop their own unique artistic practices, which they then refine in their second year as they learn the business of being an artist. Classes covering topics such as project planning, building a portfolio, and community engagement prepare students for a successful art career. “It’s not just about learning photography,” says Jonathan. “It’s about learning how to be an artist.”
STEVE WEST Class of 2020
This is the promise of SPAO — a space where students enjoy a transformative experience and become the lens-based artists they’re meant to be. Alumni have seen their work shown in and represented by local and international galleries, and have participated in photography festivals and art fairs around the world. They’ve sold pieces into public and private collections, have won major awards and grants, and have been featured in major media outlets.
Steve West first attended SPAO as a part-time student while he was working as a consultant in the Health Sciences sector. With encouragement from the school’s founder, Michael Tardioli, Steve enrolled and was accepted into the full-time diploma program. “I was a mature student, so I felt I had to justify to my classmates — and prove to myself — that I belonged in this artistic environment,” he shares.
Here we share the stories of three SPAO alumni and how attending the tiny Ottawa college lay the groundwork for their thriving photographic arts careers. These artists have pioneered new, original photographic techniques, a testament to the disruptive nature of SPAO’s methodology. Each of their practices meld different photographic techniques together to create something completely original. �
With a highly accomplished career in health sciences, Steve is building an equally impressive second act in the photographic arts. Aestheticizing brain scan imaging data, his current work explores the mysteries of the human brain and those living with substance use disorders. Steve emphasizes, “I cannot stress enough the impact SPAO had on my artistry as well as providing me with the technical and post-production foundations to realize the work I want to produce. It gives you the confidence to experiment, be technically competent. For me, that’s just as important as producing the artistic work.”
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That self-doubt quickly dissipated amid the nurturing environment of SPAO. Steve says, “When I look back at where I was when I started, and then what I achieved by the end of the diploma, it’s amazing. It was lifechanging and incredibly enriching for me as a person.”
"Conception of Tranquility" Steve West Brain scan image
– Steve West, class of 2020 photoED 23
WHITNEY LEWIS-SMITH Class of 2011 Whitney Lewis-Smith had all but abandoned her artistic practice before attending SPAO. She was working in marine science at the time and enrolled in the photography school to focus on documentary techniques for use in tandem with her underwater fieldwork. However, the two-year program changed Whitney’s trajectory completely and her studio practice developed into a very successful career. “The program opened doors for me that I hadn’t previously considered,” she says. These days, Whitney builds elaborate botanical constructions and captures them on 8×10 glass plate negatives, using techniques she first began experimenting with at SPAO. She then transfers the image to a copper etching plate, using printmaking to reproduce the photo with the historic photogravure process. “What I learned at SPAO has remained as a sort of rulebook for me ever since,” she says. Represented by the Bau-Xi Gallery in Toronto and Vancouver, Whitney has shown her work in galleries and art fairs as far as Seattle, Mexico, and Spain. Her pieces are in the collections of Global Affairs Canada and the City of Ottawa, as well as the private collection of Justin Trudeau and Sophie Grégoire Trudeau.
– Whitney Lewis-Smith, class of 2011
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Photo by Nicholas Castel.
“Transfix” by Whitney Lewis-Smith. Heliogavure etching on copper.
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KAMRYN WOLOSCHUK Class of 2023 Kamryn Woloschuk was procrastinating from doing schoolwork for her non-arts program in second-year university when she searched online for Canadian photography schools. Amid a sea of commercial programs, SPAO stood out to her as a place where she could develop an artistic practice without the fouryear commitment a degree program required. Once she became a student, Kamryn found her time at SPAO to be not only fun but also validating. “I finally felt like an actual artist. It’s fulfilling to be a part of a community that takes your art and experience seriously, especially when you haven’t felt that before,” she says. The small cohort had a broad range of life experiences, artistic talents, and philosophical perspectives — a diversity that helped Kamryn expand her own practice. Used to working in isolation, she says, “My favourite thing about attending SPAO was how the passion of those around me ended up fuelling my own.” Inspired by the Venus of Willendorf, Kamryn photographs what she affectionately refers to as fat bodies, and melding their forms over roughly articulated clay using post production tools. Now a graduate and emerging artist of the highest calibre, the queer multidisciplinary artist sees her practice not only as an outlet for self-expression, but also as a means to contribute to conversations on mental health, feminism, and community.
– Kamryn Woloschuk, class of 2023
LEFT: “Venus XX” RIGHT: “Venus I” Kamryn Woloschuk. Composite images.
For more information about SPAO and how to apply to its college diploma program, visit spao.ca.
PURE MINIMALISM BILLED AS THE WORLD’S GREATEST PHOTO GAME, GuruShots is an international competition platform for photographers. Players get feedback from more than three billion monthly voters and try to work their way up through rankings, from Newbie to the ultimate status (and bragging rights) of Guru.
GuruShots’ challenges are voted on by the platform’s Gurus and the wider community, with a fresh challenge every day. Winners can receive prizes from GuruShots’ sponsors such as Adorama, Kodak, Lowepro, and Lensbaby. The Pure Minimalism Challenge showcases beauty in simplicity through images from around the world.
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1. Dani Major • USA 2. Cachedigga • Germany 3. Olga Zeltser • USA 4. Will • USA 5. Mg Dgaf • Austria 6. Americo Sequeira • Portugal 7. Lukasz Szubartowicz • Poland 8. Stoica Emilian • Germany 9. David Feldt • Sweden 10. Daniel Calicchio • Portugal
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11. Roy Egloff • Switzerland 12. Bradley Benskin • Barbados 13. Mario Congreve • USA 14. Daiva Ališauskiene • Lithuania 15. Suave • USA 16. Greg Baccei • USA 17. Bryony Herrod-Taylor • UK 18. Anika Krstic • Serbia 19. Simona L. Neumann • Romania 20. Ryszard Tutko • Poland
20 See more entries from this challenge online: photoed.ca/post/gurushots-minimalism
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PORTFOLIO
All of the artists in this PORTFOLIO used photography as a creative blender to slowly and carefully create works that are considered, intentional, and complicated. From our first-ever international open call for submissions, we’re beyond excited to present stories that speak on topics ranging from daydreams to environmental issues, war, and human rights in ways that beautifully convey artists’ inner thoughts and invite viewers to slow down and to be curious, empathetic, and inspired towards positive, peaceful change in the world.
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THE GALLERY A DIGITAL EDITION PREVIEW
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BUT WAIT, THERE’S MORE... Check out the DIGITAL EDITION EXTRA ONLINE MAY 1, 2025 to see additional featured artists!
ALEXA MAZZARELLO ALEXANDRA BOLTON AMANDA FOULDS AMY HELLER BEN DICKEY BHUMIKA BHATIA CATHERINE HAWTHORN CHARLES PARK E ROSS BRADLEY ÉMILIE LÉGER FRANK GROSS GREGORY A MCCULLOUGH HAILEE MACQUEEN HEDY BACH IREM TURKKAN JOE ATIKIAN JULIA ZYRINA KATARINA MARINIC LAURA MA LAURENT GAGNON LEAH OATES LISA LOGAN LORI RYERSON LYNDA CUDDY MEGAN MOORE MIKE LONGLEY MIKOŁAJ TOMCZAK NAN AN OLEKSANDR SHAPOVALOV ORYSA STEIN POLO FARRERA RALPH TEEPLE RAMIN BARZEGAR ROSANNE MORRIS SAMANTHA JENSEN SHAYAN HAJINAJAF WALLY RAE XIATONG CAI
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1. SAMANTHA JENSEN HOLDING FIRE WITHIN MY FINGERS samanthakjensen.com
2. LEAH OATES TRANSITORY SPACE, CEDARVALE RAVINE, TORONTO, ONTARIO IG: @leahoates19
3. AMY HELLER ARMS UP II MULTIPLE amyheller.com
4. ORYSA STEIN A BOTANICAL RORSCHACH IG:@osteinphotography
5. LAURENT GAGNON CHAOS COLLECTION
Check it out online: photoed.ca/digital-issue
JULIA ZYRINA Netherlands
INVISIBLE THREADS The photograph represents the visible, while the embroidery captures the intangible. juliazyrina.art IG: @the_sun.rise_again
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