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Showing posts sorted by relevance for query bob cornelis. Sort by date Show all posts
Showing posts sorted by relevance for query bob cornelis. Sort by date Show all posts

photo-eye Gallery New Work
Three New Series by Bob Cornelis

photo-eye Gallery is proud to debut three new series of palladium prints by Bob Cornelis, Above the Fold, Geometria, and Secret Universe , on the Photographer's Showcase.

Bob Cornelis, Geometria 5, 2019, Palladium Print, 9 x 9" Image, 15.5 x 15" Mat, Edition of 10, $950


Since his debut on the Photographer's Showcase in 2015, it's clear Bob Cornelis is captivated by abstraction's expressive effects, obsessed with materials, and produces sumptuous palladium prints. In his three new bodies of work, Cornelis expands his practice by examining the "clean and classic" beauty of geometrically folded paper in Above the Fold, demonstrating the relationship art and mathematics have in abstraction in Geometria, and building perspective through attempting to visualise the vastness of space in Secret Universe. Below, Cornelis was generous enough to share a short statement detailing his thought process and inspirations surrounding each project.

We are proud to debut Above the Fold, Geometria, and Secret Universe today on the Photographer's Showcase, 9 x 9-inch prints in each project are available in an edition of 10 for $950 each.


Bob Cornelis — Above the Fold



"The project Above the Fold was inspired by the work of an obscure 19th-century Indian mathematician, T. Sundara Row, in his book Geometric Exercises in Paper Folding. Row showed how geometric proofs could be made easier to visualize and understand by using simple sheets of paper and folding them to create many of the linear shapes required in depicting rectangles, triangles, etc.

I have been working with paper as a subject for many years - I love its simplicity and malleability. Paper has a unique and almost endless potential to assume many appearances. In Row's hands, folded paper was made to exhibit both highly functional and surprisingly artistic aspects.

Above the Fold takes that as a starting point to present geometrically folded paper as a subject of clean and classic beauty."
– Bob Cornelis



• • • • •

Bob Cornelis — Geometria



"Art and mathematics share an essential characteristic - both use symbols to pictorially represent abstract concepts. I have always been fascinated by abstraction in my work, so a project exploring this connection made sense and Geometria was born.

In the art world, the practice of abstraction gained momentum in the 19th century when form began to be thought of separately from color and abstract art focused increasingly on structure rather than imitation or interpretation. In the world of mathematics, geometry is perhaps the most visual field of study. And it was also in the 19th century that geometry went through a revolution in which Euclidean geometry, the only recognized form, was joined by non-Euclidian geometries as co-equal ways of depicting the world.

Geometria uses a number of the elements and tools of geometry to represent abstract shapes and patterns that are often found in the art world as well. I created 2-dimensional shapes such as circles and triangles, 3-dimensional platonic solids such as cubes and octahedrons, geometric constructions using a compass and straight edge, coordinate systems with grids, etc to allow me to create multi-layered combinations of these symbols.

My goal with Geometria is to demonstrate the relationship of art to mathematics and to show how beauty is inherent in both."
 – Bob Cornelis



• • • • •

Bob Cornelis — Secret Universe



"Supernovas, black holes, red dwarfs, dark nebulae, stellar streams…

Our vast universe is filled with fantastical objects, some observed, many only the subject of speculation - there are undoubtedly many more of which we have not yet conceived. Supposition about new celestial phenomena has been a favorite pastime of human beings for a long time, from early astrological divination to more modern science fiction. We’ve always wanted to understand our place in the grand scheme of things, an endeavor only recently moving solely from the realm of imagination to that of scientific understanding.

Secret Universe invites you to join me for a moment in my own contemplation of the wonders and curiosities of a universe that might share qualities with our own. It is an imaginary place filled with spheres, vortexes, planes and clouds moving in lockstep with or in opposition to each other or sitting in silent stillness against the black void of the infinite. Here you will find juxtaposed the overwhelming dynamism and the unsettling tranquility of deep space.

Secret Universe is entirely a creation of my mind. Much of my work relies on abstraction - I’m less interested in the realistic depiction of our world than on ways in which our minds make sense of it by extracting and repurposing what we take as real. As I explored the play of these simple shapes and the way they interacted with each other in the small space of my studio, I began to conceive of them as being vastly larger in an incalculably vaster space.

They’ve transformed into a secret universe, born of my imagination, that enables me to consider my place in the scheme of things."
– Bob Cornelis



• • • • •


Bob Cornelis – New Work

All prices listed were current at the time this post was published.

For more information, and to purchase artworks, please contact
photo-eye Gallery Staff at:
(505) 988-5152 x 202 or gallery@photoeye.com

» View All Works by Bob Cornelis

» Read More about Cornelis' Prints

photo-eye Gallery 
541 S. Guadalupe Street
Santa Fe, NM 87501 

Also on View at photo-eye Gallery: Selections from Bob Cornelis's Carta I and Carta II Series photo-eye Gallery is excited to have selections from Bob Cornelis's Carta I and Carta II series on view along side our current exhibition of Cig Harvey's Gardening at Night, up through June 4th, 2016.
Selections from Bob Cornelis's Carta I & II installed at photo-eye Gallery

photo-eye Gallery is excited to have selections from Bob Cornelis's Carta I and Carta II series on view along side our current exhibition of Cig Harvey's Gardening at Night, up through June 4th, 2016. Originally introduced on the Photographer's Showcase last June, this is the first time photo-eye Gallery has exhibited Cornelis's exquisite platinum/palladium prints here in Santa Fe. A professional fine art printer by trade, Cornelis is obsessed with paper, and through the Carta series, the artist creates formal abstractions utilizing the material as both subject and substrate. photo-eye asked Cornelis to detail the inspiration behind, and process of creating, a few of the images currently installed at photo-eye Gallery.

Portfolios & Interview Bob Cornelis – Carta I & II photo-eye is pleased to announce two new portfolios by photographer Bob Cornelis — Carta I and Carta II. These black and white palladium prints are an intriguing blend of 19th, 20th, and 21st Century photographic practice and philosophy, as Cornelis combines digital capture with palladium salts to build an image.

Carta I, T – Bob Cornelis
photo-eye is pleased to announce two new portfolios by photographer Bob Cornelis — Carta I and Carta II. These black and white palladium prints are an intriguing blend of 19th, 20th, and 21st Century photographic practice and philosophy, as Cornelis combines digital capture with palladium salts to build an image. Focused on form and invested in abstraction, Cornelis depicts paper as both vast and rolling fully tonal environments in Carta I and glowing angular marks that divide the picture plane in Carta II. photo-eye's Lucas Shaffer spoke with Bob Cornelis about getting his start as an artist, his inspirations, and the process of producing the Carta series.


photo-eye Gallery 2016 Gallery Highlights As 2016 comes to a close, photo-eye Gallery would like to look back at a few of our favorite highlights from the year.




As 2016 comes to a close, photo-eye Gallery would like to look back at a few of our favorite highlights from the year. We are thrilled with each or our represented artist’s exhibitions as well as the work by our new friends from 2016.

We kicked off the year with the collaborative Fire and Ice exhibition featuring astrophotgrapher Alan Friedman and photomicrographer Douglas Levere. The spring followed with Gardening at Night, the marvelous series by Cig Harvey, marking her first solo exhibition with photo-eye. In the summer months, we presented Nick Brandt’s powerful new work, Inherit the Dust as well as exhibiting Michael Kenna for the first time with a 30-year retrospective of his remarkable career. Richard Tuschman’s exceptional photographic novella, Once Upon A Time in Kazamierz marked his second solo exhibition with photo-eye. We also had the pleasure of hosting 2016 CENTER Project Grant Winners, Megan E. Doherty and Elena Anasova during CENTER’s Review Santa Fe Festival. We proudly end the year with local photographer Brad Wilson’s AFFINITY series, his first solo exhibition in our Santa Fe Railyard District location.

In addition to these seven feature exhibitions, we displayed a selection of work by Kate Breakey, Rachel Phillips, and Bob Cornelis. In the photo-eye Bookstore Project Space we showcased gallery artist Jamey Stillings in honor of his new award-winning book The Evolution of Ivanpah Solar and Steve Fitch in celebration of his fantastic new book American Motel Signs, among several other guest artists including Wendel White and Baron Wolman.

The photo-eye team would like to say THANK YOU to all of our artists for their hard work, and our clients for their support and dedication in 2016! We're looking forward to working with you in the new year.

2015 September 17 – Massive © Alan Friedman | Archival Pigment Print, 19x19", Ed. of 15, $1,500


































Snowflake 2014.03.23.005 © Douglas Levere | Archival Pigment Print, 12x12", Ed. of 10, $50
Wolfhound, Rockland, Maine, 2012 © Cig Harvey | Chromogenic Print, 14x14", Ed. of 10, $2,500
Carta I A © Bob Cornelis | Palladium Print, 6x6", Ed. of 10, $800
WASTELAND WITH ELEPHANT, 2015 © Nick Brandt | Archival Pigment Print, 38x79.8", Ed. of 15
Hashikui Rocks, Study 1, Kushimoto, Honshu, Japan, 2002 © Michael Kenna | Gelatin-Silver Print, 8x8", Ed. of 45, $4,000
Divination by Mirror © Rachel Phillips | Varnished Transfer to Antique Photo, 6.5x4.3", Unique Object, $700
Couple In The Street © Richard Tuschman | Archival Pigment Print, 21x14", Ed. of 5, $2,300
Moon Setting Over Saguaros © Kate Breakey | Archival Pigment Inkon Glass, 24kt Gold Leaf, 10x14", Ed. of 20, $1,650

Section_001, 2014 © Elena Anosova
Back of the Yards, Winter, 2015 © Megan E. Doherty
Black Leopard #2, Monterey, CA, 2014 © Brad Wilson | Archival Pigment Print, 28x23", Ed. of 15, $1,250

For more information, and to purchase prints, please contact the Gallery Staff at 505.988.5152 x202 or gallery@photoeye.com.




photo-eye Gallery Collecting Tips: Understanding the Print Process In the latest entry to our Collecting Series, photo-eye Gallery Staff describe four popular print types, what makes them special, and reasons to collect them.


For some time I've been ruminating on a series about collecting photography to help demystify the process. This summer we kicked off the series with a piece highlighting 5 basic tips to start your collection and then moved into some of our staff’s favorite images. Today we are going to bring our focus back to the basics by defining four common types of photographic prints, their strengths, and why to collect them.

NOW is a very exciting time for photography. New technologies have created unforeseen printing possibilities but have also caused a resurgence in classic processes — resulting in a slew of possibilities and a longer glossary of terms.  The range of what is considered 'photographic' has and is expanding. Occasionally, gallery visitors get caught up between the type of print and the process of creating the photographic image, and typically the two are related, although they don't need to be. This post is a guide to four of the most common types of photographic prints, how they are made, and why they may be a good fit for your collection.
– Anne Kelly, Gallery Director


Silver-Gelatin Prints

Capodacqua Lake, Capestrano, Abruzzo, Italy, 2016, Gelatin-Silver Print, 8x8" Image, Edition of 25, $3000 
© Michael Kenna

Silver-Gelatin prints are papers coated with a layer of gelatin emulsion containing light sensitive silver salts and typically made from a film negative in the black and white darkroom. Introduced in the 1870’s, these prints became a favorable black and white print type from the turn of the 19th century to present day.

Photographers and collectors alike can always appreciate a gorgeous gelatin silver print for its rich tonal value and unique surface. For over a century, the traditional silver print has remained as a fundamental printing method and quintessential representative for the medium’s history.

Select Artists making Silver-Gelatin Prints:
Michael Kenna
Pentti Sammallahti
Edward Ranney
Hiroshi Watanabe
David H. Gibson
Mark Klett
Raymond Meeks
John Delaney
Steve Fitch



Archival Pigment Prints


Cloud caster, 2013, Archival Pigment Print,8x8” Image, Edition of 15, $1500– © Maggie Taylor
Archival Pigment Prints are nearly ubiquitous these days as many photographers continue to move their work out of the darkroom and onto the computer. Originating as a digital file, either from a camera or scanner, Archival Pigment Prints are created on professional inkjet printers utilizing refined particles of tonal pigment resilient to degrading environmental elements. Ok, what does that mean? Essentially Archival Pigment Prints offer exquisite rich tone, black-and white or color, and can last for hundreds of years – far longer than the traditional chemical color C-Print.

In the past ten years, we've also seen a renaissance in paper choice for Archival Pigment Printers, including thick matte cotton rag and the introduction of a clay base just like Silver-Gelatin Prints. These papers have been especially freeing for color photographers who were previously limited to plastic based resin coated papers. We love materials at photo-eye and how they can affect the interpretation and feeling of an image.

Far from push-button, mastering Pigment Printing means possessing an intense understanding of your materials, including paper, ink choice, and the profiles used to transform a digital file into a physical object.

Select Artists Making Archival Pigment Prints:
Maggie Taylor
Julie Blackmon
Mitch Dobrowner
Tom Chambers
Jock Sturges
Jamie Stillings
Laurie Tümer
Richard Tuschman
Brad Wilson
Zoë Zimmerman


Chromogenic Prints


Red Curtain, 2016, Chromogenic Print, 14x14" Image, Edition of 10, $2500 – © Cig Harvey
Chromogenic Prints, or C-Prints, are made from a color negative, slide, or digital image (known as a digital C – print). A color photograph in which the paper has three emulsion layers of light sensitive silver salts. Each layer is sensitized to a different primary color - red, blue or green. During processing, chemicals are added that form dyes of the appropriate color in the emulsion layers. The silver salts are bleached out and only the color dyes remain. This process was developed in the 1930s and became quite popular upon Kodak’s introduction of Kodacolor film produced from 1942 to 1963. C – prints remained as the most common color printing method until the recent shift to archival pigment prints.

Chromogenic prints often speak to photographers and collectors with a more traditional or purist approach to the medium. What makes these color prints unique, or stand apart from more contemporary pigment prints, is that they are made from an exposure that requires light – photography’s key ingredient.

Select Artists Making C-Prints:
Cig Harvey
Terri Weifenbach
Carla van de Puttelaar
Liz Hickok


Platinum Prints


Dried Clematis Blossom, 1995, Platinum/Palladium Print, 10x8" Image, Edition of 25, $750 – © James Pitts 
Like most other alternative photographic processes, the Platinum Print's roots stretch back to the nineteenth century. Born of noble metals, platinum prints became prominent among photographers in the late 1800s and early 1900s as photographer's sought to elevate the medium's artistic status by creating images both elegant and handmade. 

The platinum printing technique consists of hand-sensitizing fine cotton rag paper with a custom emulsion cocktail built specifically for each image. Once dry, negatives are laid against the paper and contact printed via a UV light source — such as the sun. The procedure is specific, peculiar, and laborious, with a single platinum print sometimes taking up to eight hours to render.

Although complicated, the aesthetic and archival benefits of using platinum materials is astonishing. Compared to contemporary printing procedures, platinum prints exhibit a long and graceful tonal range, deep luscious blacks, a sense of three-dimensionality, and unique luminous quality. When properly cared for, platinum prints are also very permanent and can last thousands of years. 

Select Artists making Platinum Prints
•   Ronald Cowie
•   Teri Havens
•   Nick Brandt
•   Bob Cornelis




For more information and to purchase prints please contact 
Gallery Staff at 505.988.5152 x 202 or gallery@photoeye.com