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Laura Skehan Tecnica: Photo Anno: 2021 Dimensione: 75cm x 50cm Descrizione: is a photograph I took while reflecting on the geological relationship between Iceland and the Moon. I was particularly drawn to identifying rocks such as basalt and breccia—materials that are present on both bodies. Iceland, with its sparse and silent terrain, feels otherworldly. It’s no coincidence that its landscape was used to train Apollo astronauts, offering a striking analogue for the lunar surface. The title, Plus lourd que l’air (“heavier than air”), is inspired by 19th-century French photographer Félix Nadar, who took the first aerial photograph. Fascinated by air travel, Nadar commissioned Le Géant, a giant hot air balloon that influenced Jules Verne’s novels Five Weeks in a Balloon and From the Earth to the Moon. Together, Nadar and Verne founded La Société d’encouragement de la locomotion aérienne au moyen du plus lourd que l’air—The Society for the Encouragement of Air Travel by Means of Machines Heavier than Air. In thinking about Iceland’s fiery origins and its geological connection to the Moon, I’m drawn to this uncanny material bond: the Moon, a ‘floating’ rock tethered to Earth by gravity, shaping our tides and, in turn, the formation of basalt. This work explores a mysterious, unknowable relationship—one we can never fully grasp through observation alone. There’s something profound in that not-knowing, in the vast timeline of geological and hydrological forces that shape both worlds beyond our experience. -
Laura Skehan Tecnica: Photo Anno: 2024 Dimensione: 60 x 90cm Descrizione: During my residency at ZK/U, Centre for Art and Urbanistics in Berlin, I spent time working in the community garden at Moabit Stadtgarten. As I observed the changing light, the plants as they bloomed and bore fruit, and the insects and creatures that wandered through this urban meadow, I was reminded of nature’s unhurried cycles. The wanted plants and the weeds—both would eventually wither when winter arrived. This ongoing transformation became symbolic, a chance for introspection. The garden, asking nothing of me except to witness, allowed me to lose myself in thought, to remember. That summer, I wrote incessantly. My scribbled notes revealed reflections on missed opportunities, forgotten dreams, first kisses, a yearning for something undefined, a fear of embracing myself, and the resistance I found in moments of joy and sharing. I noted the passing of time, the shifting mix of boredom and bliss. I felt the pull of spring’s hope, the fullness of summer, the harvest’s abundance, and the need for autumn's reflection before hibernating through winter’s long nights—only to begin again -
Laura Skehan Tecnica: Photo Anno: 2025 Dimensione: 40 x 60cm Descrizione: The cherry blossoms blooming period in Berlin this year was exceptionally short. The streets were filled with pink one day, the next the flowers were gone. This days I walked through the streets trying to find one that had lasted to photograph. This tree still had it’s flowers, but it would not be for long. These shorter blooms can be due to many factors, including unseasonably warm weather earlier in the year with sudden frost, extreme weather events, climate change and poor soil health due to drought. -
Laura Skehan Tecnica: Photo Anno: 2025 Dimensione: 75 x 50cm Descrizione: This photograph captures the fruit and leaves of the American Sycamore, a tree we often pass without noticing, yet one with layered histories. Taken in a former East German district of Berlin, the image reflects on how this North American native has come far from its original home. Chosen for urban landscapes across Europe due to its resilience against pollution and extreme temperatures, it has become a symbol of survival—a force in both ecological and political climates. Once marking fertile land and fresh water during the westward colonisation of North America, the tree now grows in cities as far-reaching as Berlin and Rome, quietly bearing witness to shifting territories, migrations, and the entangled legacies of empire. -
Laura Skehan Tecnica: Photo Anno: 2025 Dimensione: 45 x 35 cm Descrizione: Surface Stories, Painted Depth, explores the interplay of light, architectural surfaces, and the visual dialogue between the organic and urban worlds. The work references an anonymously crafted, intertwined design language, where natural elements and built environments merge. The series often includes playful human-made markings—whether artistic, cultural, or political—adding layers of meaning to the scene. -
Laura Skehan Tecnica: Photo Anno: 2021 Dimensione: 70 x 50 cm Descrizione:refers to the chemical reaction through which salts of sulfuric acid form. The photograph was taken at Seltún, a geothermal area on the Reykjanes Peninsula in southwest Iceland. It’s an extraordinary landscape of vividly coloured, bubbling mud pools—where the air is thick with the sharp scent of sulfur. The palette of the terrain ranges from rich browns and fiery oranges to greens, silvers, and blues.Historically, Seltún was mined for sulfur from the 13th to the 19th century. In more recent decades, attempts at experimental drilling caused violent explosions and the formation of large geothermal vents, ultimately destroying much of the manmade infrastructure. -
Laura Skehan Tecnica: Photo Anno: 2021 Dimensione: 60 x 90 cm Descrizione: was taken near Seltún in southwest Iceland—a fleeting moment of golden silence at a hot spring along the Seljalandsá River. These geothermal waters, rich in dissolved minerals, echo the primordial springs that once played a vital role in the chemical reactions that gave rise to life on Earth. As steam drifted upward in the evening light, the ancient and the ephemeral seemed to converge. I found myself imagining that pivotal moment before life began. Then, suddenly, a bus full of visitors arrived to explore the Seltún area. -
Laura Skehan Tecnica: Photo Anno: 2021 Dimensione: 60 x 90 cm Descrizione: was captured during my first visit to Reynisfjara Beach in Iceland—a striking volcanic black sand beach known for its powerful, unpredictable waves. Tourists often underestimate its force, with the heavy, coarse sand and surging Atlantic currents pulling unsuspecting visitors into the sea. The landscape is extraordinary: the ocean's raw energy, framed by towering basalt formations, transforms the beach into a kind of natural amphitheatre. My attention was drawn to the rock face—those undulating basalt columns, reminiscent of the Giant’s Causeway back home. I found myself wondering what stories these rocks had borne witness to: the tragedies, both human and more-than-human; the ever-shifting landscape; the stream of transient visitors arriving at Iceland’s southern coast. What impact does that leave behind? The scene offered a quiet but forceful reminder that both the sea and the earth demand respect.I spent a long time there in the freezing air, observing how others moved through the space, how they responded to the intensity of the environment—the charged encounters between humans, the ocean, and the basalt. While the work documents the intricate textures and geological history of this place, I also think of it as a portrait: the rock, ever still, quietly watching the drama unfold. -
Laura Skehan Tecnica: Photo Anno: 2025 Dimensione: 20 x 30 cm Descrizione: explores the interplay of light, architectural surfaces, and the visual dialogue between the organic and urban worlds. The work references an anonymously crafted, intertwined design language, where natural elements and built environments merge. This photograph often includes playful human-made markings—whether artistic, cultural, or political—adding layers of meaning to the scene. Tecnica: Photo Anno: 2024 Dimensioni: 90 x60 cm Descrizione: In 2024, I spent time working in the community garden at Moabit Stadtgarten city park while I was an artist in residence at ZK/U, Centre for Art and Urbanistics in Berlin. I observed the changes of light, the flowering of the plants and the fruit that followed , the insects and the creatures that explored this urban meadow, the wanted plants and the weeds, all eventually to decay when the winter would came. This cycle became symbolic and an opportunity to be reflective. The garden asking nothing of me, but to witness and to loose myself in thought. An opportunity to remember. I wrote constantly that summer. What presented in my scribbled notes were resolutions around missed opportunities, unfollowed dreams, first kisses, a longing for something (not quite sure what though), a fear of self-acceptance, resistance through joy and sharing, a recognition of the time passing, moments of boredom and of bliss. The stories and histories that were embedded with each plant, a shared mumbled moment in time. The hope of spring, the fruitful summer, the abundance of the harvest and a reflective period in Autumn to prepare for the long winter nights, hibernating, protecting... only to begin again. This work featured in the final exhibition INTERZONE at ZK/U, an exhibition exploring the parallels within culture and the diversity of the queer community and biodiversity of urban green space, particularly the contested spaces of community gardens as places of growth, memory and resistance. Opera realizzata a pennello con tecnica della calligrafia, rappresenta una rondine il tema dell’opera realizzaTa nello splendore della villa burba di Rho era il viaggio -
Laura Skehan Tecnica: Photo Anno: 2021 Dimensione: 90 x 60 cm Descrizione: A breath (2021) was taken near Seltún, in southwest Iceland, a golden moment of silence at a hot spring along the Seljalandsá River. Hot springs and rivers contain large amounts of dissolved minerals. Ancient versions of these springs and the minerals within them performed a key chemical reaction for early life on Earth. The historic and the ephemeral merged in that moment as I watched the steam rise in the golden light. I contemplated those ancient springs, what it must have been like the very moment before life emerged. Just then, a bus full of visitors arrived to explore the Seltún area. -
Laura Skehan Tecnica: Photo Anno: 2021 Dimensione: 90 x 60 cm Descrizione: What We’ve Seen was taken during my first visit to Reynisfjara Beach in Iceland while on residency SIM Residency in 2021. I look to the stories of the land and how they are translated to us, a dynamic language that is performed through movement, making, watching, listening. The beach is a famous volcanic black sand beach with ferociously strong waves… tourists have been known to tread too closely to the water and be pulled in by the combination of the heavy coarse sand and the power of the ocean. The landscape is phenomenal, and the dramatic power of the Atlantic Ocean allows the beach sheltered by the basalt formations to become a natural amphitheatre. My focus was of course on the rock face… Towering, undulating basalt columns, similar to the Giant Causeway, familiar to us at home. I thought about the stories this one had seen. The tragedies the rock face had witnessed in both human and more than human… the changing landscape, the influx of transient people to the south Icelandic coast. The damage that might do.. the reminder that the waves and the earth must be respected. I spent quite a bit of time in the freezing cold, watching and listening to how other people interacted with the landscape and dramatic exchanges between the human, the ocean and the rock face. While the work is about the exquisite detail and history of the geological phenomenon, I also like to think of it as a portrait of the rock as it watches the drama unfold in front of it, or behind the camera. -
Laura Skehan Tecnica: Photo Anno: 2024 Dimensione: 90 x 60 cm Descrizione: In 2024, I spent time working in the community garden at Moabit Stadtgarten city park while I was an artist in residence at ZK/U, Centre for Art and Urbanistics in Berlin. I observed the changes of light, the flowering of the plants and the fruit that followed , the insects and the creatures that explored this urban meadow, the wanted plants and the weeds, all eventually to decay when the winter would came. This cycle became symbolic and an opportunity to be reflective. The garden asking nothing of me, but to witness and to loose myself in thought. An opportunity to remember. I wrote constantly that summer. What presented in my scribbled notes were resolutions around missed opportunities, unfollowed dreams, first kisses, a longing for something (not quite sure what though), a fear of self-acceptance, resistance through joy and sharing, a recognition of the time passing, moments of boredom and of bliss. The stories and histories that were embedded with each plant, a shared mumbled moment in time. The hope of spring, the fruitful summer, the abundance of the harvest and a reflective period in Autumn to prepare for the long winter nights, hibernating, protecting... only to begin again. This work featured in the final exhibition INTERZONE at ZK/U, an exhibition exploring the parallels within culture and the diversity of the queer community and biodiversity of urban green space, particularly the contested spaces of community gardens as places of growth, memory and resistance. -
Lu.cartz Tecnica : Acrilico, Fotografia digitale Dimensione: 73 x 29 cm Anno: 2024Descrizione : Il titolo del progetto riprende una parte del testo: "Sopra quelle parole del cantico: dilectus meus mihi" di Santa Teresa d'Avila. Sono nata in Colombia, il paese del Sacro Cuore di Gesù, e sono cresciuta in una famiglia conservatrice e religiosa. A 15 anni, grazie a una lezione di arte alle medie, mi sono imbattuta nell'arte erotica di Klimt e Schiele. Questa scoperta ha suscitato in me una contrapposizione tra la curiosità e l'ammirazione per l'arte erotica e l'educazione religiosa ricevuta, dando inizio alla mia ricerca artistica. Attraverso la scultura di Bernini dell'estasi di Santa Teresa e i testi di Santa Teresa d'Avila, ho iniziato a pensare che forse erotismo e spiritualità non fossero antagonisti, ma che l'uno potesse esistere nell'altro, come una sorta di Yin e Yang. Questa ricerca continua con il presente progetto, attraverso una serie di autoscatti del mio corpo. Utilizzando prima un acrilico di colore rosso (che rappresenta amore, passione, sofferenza, dolore e sangue) e poi delle foglie d'oro, sovrappongo il rullino e catturo i movimenti del mio corpo, con l'auto scatto e delle mani in una sorta di rituale e immedesimazione del testo. Voglio esprimere il momento esatto in cui la freccia attraversa il cuore di Santa Teresa d'Avila, portandola all'estasi. -
Danilo Hector Gesmundo Tecnica : Foto Dimensione: 70cm x 50 cm Anno: 2025 Descrizione: : Il mio progetto invita a esplorare il mistero dell' inconscio, rivelando che la vera identità risiede in ciò che resta nascosto. Coprire il volto o il corpo significa rompere le strutture predefinite dell' identità, così ognuno può esprimersi in totale libertà -
Danilo Hector Gesmundo Tecnica : Foto Dimensione: 70cm x 50 cm Anno: 2025 Descrizione: : Il mio progetto invita a esplorare il mistero dell' inconscio, rivelando che la vera identità risiede in ciò che resta nascosto. Coprire il volto o il corpo significa rompere le strutture predefinite dell' identità, così ognuno può esprimersi in totale libertà -
Danilo Hector Gesmundo Tecnica : Foto Dimensione: 70cm x 50 cm Anno: 2025 Descrizione: : Il mio progetto invita a esplorare il mistero dell' inconscio, rivelando che la vera identità risiede in ciò che resta nascosto. Coprire il volto o il corpo significa rompere le strutture predefinite dell' identità, così ognuno può esprimersi in totale libertà -
Marcello Torrero Tecnica : Stampa fotografica fine art di fotografia digitale Dimensione: 30cm x 45cm Anno: // Descrizione: Sullo sfondo un bambino gioca a pallone in un vicolo di Alassio che congiunge il budello alle spiagge aperte sul mare. -
Marcello Torrero Tecnica : Stampa fotografica fine art di fotografia digitale Dimensione: 45 cm x 30 cm Anno: // Descrizione: Sulle alture di Trieste i villeggianti si dispongono come attori su un palcoscenico naturale: alzano le braccia, si scattano selfie, a fare da sfondo il mare adriatico. -
Gabi Gonzaga Tecnica : Fotografia analogica Dimensione: 20cmx25cm Anno: 2024 Descrizione: Un scatto fatto nel pomeriggio d'estate. -
Gabi Gonzaga Tecnica : Fotografia analogica Dimensione: 20cmx25cm Anno: 2024 Descrizione: Foto scattata sotto il portico di Piazza San Carlo, in un pomeriggio d'estate.