The Stillness of Motion: Changing Polar Landscapes evokes a visceral experience of an Arctic and Antarctic that is both haunting and beautiful, distant yet intimate. These photographs offer a re-imagining of the circumpolar regions in non-dualistic, subjective and experiential terms; instead of pitting Man against Nature in the dualistic language of conquest, this work highlights the truly inter-connected and inter-dependent nature of our relationship to this world and to these vast and barren places. At the same time, this series is a visual contemplation of the spatial-temporal concepts of motion and change as they act upon our polar spaces. The frequent use of motion blur evokes a sense of movement and impermanence that calls attention to the fragile and fleeting nature of these frozen lands, as well as to the motion that exists within all space, from atoms and celestial spheres to glaciers and tectonic plates. Although the photograph has long symbolized our ability to capture space and freeze time - both literally and figuratively facilitating the colonial ambitions of control - the camera is merely an instrument of space and time, a tool of our subjective imagination. A photograph is not an objective truth: invested with intention, it exposes the mind. And in so doing, reveals that mind and space are one. In imaged space, movement can manifest in abstraction, impermanence, in impression, time, in blur. A long exposure can emulate the action of eternity upon the earth – for inevitably, time denies space its form.
Into the Sahara, by Roberta Holden, provides a rich sensory journey through impressionistic landscapes and intimate lived spaces of the Moroccan desert.
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Focusing her camera on the extraordinarily complex and dynamic qualities of the frozen ocean, Studies in Sea Ice by Roberta Holden is a work of colour archival prints taken by helicopter between the communities of Ummanaq and Nuussuaq on the northwest coast of Greenland
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