Echo Fine Arts
Joachim Schmeisser Bull with Two Birds
Jan C. Schlegel Tulip #2
Cecilia Paredes Tapisserie
Dean West Cade Silhouette #2, feat. Veleno
Tim Flach Flamboyance
About the Artist
For years, Joachim Schmeisser has been photographing the last giants of Africa at close range, creating exceptionally intimate portraits of species threatened with extinction. In his series "The Last Of Their Kind" he focuses on the beauty of creation and its fragile transience. These striking images are timeless works that can be interpreted on different levels: as depictions of a distant past or as iconic memories in a not too distant future in which we can only admire these majestic creatures in zoos. They are both an homage and a final warning - visual revelations that sharpen our clouded view of nature in all its infinite complexity as well as recognizing what treasures we might irretrievably lose.
Fascinated by photography since the age of 14, Jan C. Schlegel has sharpened his style and technique both in-camera and in the darkroom under the mentorship of Walter Schels and Toni Schneiders. Since his first travels throughout Asia in 1998, he has visited over 61 countries with the goal of documenting his encounters and preserving humanity’s most important patrimony: the people. Scouting his models in random places such as the market, the village or even the roadsides, he takes their picture as they are, on the spot, excluding any special outfit or make-up. Using an Ebony SV45 Ti camera as his mean of communication, he simply places them in from of a grey background in order to drive the attention on the personality rather than the environment. No matter where they were shot, Schlegel’s portraits highlight the uniqueness of the human standing in front of him while paradoxically removing the distance one feels when facing a stranger. Magnified in the darkroom rather than digitally retouched, his images are partially toned using an intricate technique resulting in this highly contrasted photographs which are instantly identifiable.
Multidisciplinary artist in essence, Cecilia Paredes uses her body as a performative vessel merging painting, sculpture and photography. While she initially appears as the main subject in each of her “photo performance”, her work explores a wide range of themes such as exile, integration, connection to nature, as well as biocentrism. Playing an active role in the narration, the background of her compositions is often made of patterns borrowed from tapestry or wallpapers filling the entire frame including her body. Her identity, hence camouflaged in the backdrop, is distilled to a quintessentially feminine shape inviting the viewer to ponder the ways in which individuals are informed by their natural and cultural environments. Additionally, the omnipresence of vegetal or animal design depicts an ideal world where humanity blends in rather than dominates.
Dean West's body of work plays with multilayered states of consciousness through the silent dialogue between the elements he has meticulously arranged on stage, hence forcing imagination to overstep the frames of reality. While Fabricate settled in a mythology-inspired context, In Pieces investigates the identity of contemporary man within a society that dictates most aspects of his expected role.
ln 2008, West was included in Saatchi & Saatchi's collection of the world's top 100 emerging photographers. ln the following years, his series 'Fabricate' received worldwide recognition from top photography competitions, including : the International Colour Awards, the Lucie Awards, the Loupe Awards. In 2009, Dean was the winner of the IV International Arte Laguna Prize, Venlce, Italy; This final award being the most prestigious for ernerging artists with over 5,000 applicants gunning for the top prize in photography, sculpture and painting. Zoom Magazine quickly nominated Dean in the 'New Talent' issue of 2010 and the Magenta Foundation awarded him an emerging Photographer of Canada. Dean's body of work is now being collected by a growing number of sophisticated art collectors in North America and Europe.
Yellow Eye Tree-Frog, 2017
Flach's work is exclusively focused on animals, ranging widely across species but united by a distinctive style that is derived from his concerns with anthropomorphism and anthropocentrism. His interests lie in the way "We shape animals, and we shape their meaning. Whether genetically, as with the featherless chicken of my photograph, or with the symbolism that gives a special significance to a dove but dismisses a London pigeon as a flying rat." He states that his images "aim to illuminate the relationships between human and animals, to make an enquiry into how these relationships occupy the anthropocentric space within the contexts of ethics, history, science and politics."