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Thomas Jackson, Yarn no.2, Chester Springs, Pennsylvania, 2012, Archival pigment print, 20x25," Edition of 3, $2500

This week at photo-eye, we’re taking a deep dive into one of our favorite images by Thomas Jackson, Yarn no. 2, Chester Springs, Pennsylvania, 2012.

The constructions of Thomas Jackson, despite their appearance, are slow. Though their subject matter is literally explosive, Thomas Jackson’s images from the Emergent Behavior series are painstaking. Armed with his 4x5 camera and occasional assistant, Jackson installs his constructions in their setting prior to photographing. Yarn no. 2 is no exception.

Thomas Jackson, Yarn no.2, Chester Springs, Pennsylvania, 2012, Archival pigment print, 20x25," Edition of 3, $2500

The central burst of activity animates the image, with a cluster of lines that seem to expand ever outward, mimicking the experience of watching something grow, but only by doubling back on itself first. Ultimately, expansion feels inevitable; when I look at this image, I know that the neon web will bounce and bounce in perpetuity, even if I’m not sure what that means for me just yet. The randomized chaos of Jackson’s branch-bound installation almost makes me feel claustrophobic, but then I realize that I can see fishing line. Suddenly, there is a visual element that draws my eye away from the bustling center and into the gentle woods behind it.

Detail from Thomas Jackson's Yarn no.2

This composition, despite its straight lines and glaring palette, has been forced to slow down; it has forced my eyes to wander, to consider its points of origin. Suddenly, it is apparent to me that everything is meticulously tied and staked, and in noticing the detail present in the lush, green foreground, I also remember that this is a 4x5 photograph. My initial perception of this image was that it must have been digital, despite knowing how it was made. Maybe this is because this random explosion of string feels like it could have occurred spontaneously over one or multiple attempts. Maybe it is because I have been conditioned to think of contemporary work shot on film as striving for neutrality and balance, and the digitally printed, fluorescent web of yarn staring back at me is antithetical to that; however its objectively analog methods of construction place Yarn no. 2 in the uncanny space in between the real and the rendered. It is an image that makes us look twice.

Detail from Thomas Jackson's Yarn no.2

The Freudian definition of the “uncanny” — that which is familiar yet strange — is one that Thomas Jackson embraces and hopes to incite through the imposition of his sculptural works onto the landscape. This feels appropriate for Jackson, who began Emergent Behavior, the overarching series of which Yarn no. 2 is a part, by engaging with the idea of the “swarm.” A cloud of gnats in the summertime is not that much different from an ant colony, which is not much different from our very connected human world, if you think about it through the lens of the hive mind.

Hear more from Thomas Jackson about this idea by exploring his 2015 interview and talk on the work at the link below!

>> Thomas Jackson on Emergent Behavior <<

• • • • •

photo-eye Gallery is proud to represent Thomas Jackson.

For more information, and to purchase prints by Thomas Jackson please contact Gallery Director Anne Kelly or Gallery Assistant Delaney Hoffman, or you may also call us at 505-988-5152 x202

by Juliane Worthington

Thomas Jackson, Tutus no. 4, San Francisco, California, 2018 Archival Pigment Print, 20x25" Image, Edition of 4, $2500

Whether it’s straws, translucent plastic plates, or rainbow colored tutus, Thomas Jackson’s intent is to confuse our senses by making objects appear in mid-air in scenes we would never expect to encounter them.

I asked him how he imagines and executes these images without the use of photomontage. Jackson says he begins by finding something everyone can relate to, “I love how the tutus are something we’ve all encountered in some way. For me, it’s a reminder of my daughter’s whimsical, childhood days.” His happiness comes when he can juxtapose an ordinary object into an extraordinary scene.

Represented artist Thomas Jackson stages over 200 tutus on a seaside cliff in San Francisco in preparation

for his image Tutus no. 4.

“I scouted out the location and fell in love with the vast, rugged cliffs, covered in ice plant,” Jackson remembers. He went on to recall the challenge of getting all his equipment and supplies out to such a remote location. Listening to him describe his process, I could hear how much he loves the puzzle of figuring out how to execute his idea as much as the result. With the help of his assistant, and after a lot of factoring and trial and error, Jackson staged the hillside with over two hundred multi-colored tutus zip-tied to thin, green, wooden garden stakes. The effect was, to Jackson’s delight, a way to “see the wind.”

Jackson’s message with his work, like Tutus no. 4, is to make us feel disoriented, confused and even a little unnerved by seeing normal, everyday objects in unusual places. He feels these images make our brains sort of jump out of our thinking ruts and really take a look at the elements of our world. In this photograph, the tutus become a voice for the wind, a way for us to see how playful the Earth is, even on the remote cliffs of Northern California.

Thomas Jackson – Straws no. 4, Mono Lake, California, 2015,
Archival Pigment Print, 30x38" Image, Edition of 5, $4000

Currently, Jackson’s Straws no. 4, Mono Lake, California, 2015 is on view at photo-eye Gallery in our 2019 Group Show.

» View the 2019 Group Show

» View Additional Work by
Thomas Jackson

» Read More about
Thomas Jackson

Jackson is also releasing two new images this week, Kool-Aid no. 1, Muir Beach, California, 2018 and Kool-Aid no. 2, Montara, California, 2018.

Thomas Jackson – Kool-Aid no. 1, Muir Beach, California, 2018, Archival Pigment Print,
20x25" Image, Edition of 4, $2500

Thomas Jackson – Kool-Aid no. 2, Montara, California, 2018, Archival Pigment Print, 20x25" Image, Edition of 4, $2500

• • •

For more information, and to purchase prints,

please contact Gallery Staff at

505-988-5152 x202 or gallery@photoeye.com

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

Prices will increase as the print editions sell.

2019 Group Show
on view through April 20, 2019

» View work from the exhibition

Select Included Artists:

» Julie Blackmon
» Kate Breakey
» Mitch Dobrowner
» Michael Kenna
» Clay Lipsky
» Beth Moon
» James Pitts
» Reuben Wu
» Brad Wilson

photo-eye Gallery – 541 S. Guadalupe Street, Santa Fe, NM 87501 | VIEW MAP

Straws no. 4, Mono Lake, California, 2015 – © Thomas Jackson

Thomas Jackson's Emergent Behavior is inspired by the instinctual self-organizing systems found in termite mounds, schools of fish, or flocks of birds. Colorful and animated, Jackson views images in the Emergent Behavior series as an 'experiment in juxtaposition,' photographing everyday mass-produced consumer goods against the backdrop of a pristine and natural landscape. Sublime in character, the images in Emergent Behavior produce equal parts wonder and worry as we consider the intention and agency of these commodities gathering in uninhabited areas. Originally introduced to the Photographer's Showcase last May with a corresponding gallery exhibition, photo-eye is excited to introduce six new images in the Emergent Behavior series, and asked Jackson for some insight about how these images are constructed as well as the intention behind the new photographs.

Plates no. 5, Montara, CA, 2017, Archival Pigment Print, 20x25" Image, Edition of 4, $2500 – Thomas Jackson

photo-eye Gallery welcomes California-based photographer Thomas Jackson as our newest represented artist. No stranger to photo-eye, Jackson's whimsical and paradoxical constructions first appeared in the Photographer's Showcase alongside his gallery exhibition Emergent Behavior in the spring of 2015.

Originally inspired by self-organizing emergent systems in nature, such as schools of fish, the artist's work is evolving to incorporate representations of man-made networks and information analysis in contrast with their surroundings. For Jackson,

"…these [images] represent the beginnings of a new, as-yet-untitled body of work. As you can see I’m gradually moving in more geometric, minimal direction with these pieces. In particular, I’m looking to data representations, man-made systems and networks for ideas. The starting point for the glow necklaces image below, for instance, was the New York subway map. At the same time, I’m continuing, as before, to explore ways to juxtapose the man-made and the natural and to create installations that are simultaneously in harmony and in conflict with their environments."

photo-eye Gallery is proud to debut three new works by Thomas Jackson today, including the image above, and look forward to the progression of this new ongoing series.

» View NEW WORK

Archival Pigment Prints made by Thomas Jackson are available in limited editions

New Work

Thomas Jackson

20 x 25 inches, Edition of 4, $2,500

30 x 38 inches, Edition of 7, $4,000

48 x 60 inches, Edition of 4, $7,500

» Inquire

Glow Necklaces no. 5, Edisto, SC, 2017, Archival Pigment Print, 25x20" Image, Edition of 4, $2500 – Thomas Jackson

Plates no. 4, Montara, CA, 2017, Archival Pigment Print, 20x25" Image, Edition of 4, $2500 – Thomas Jackson

Thomas Jackson photographing on Location

For more information, and to purchase prints, please contact Gallery Staff at:

505-988-5152 x202 or gallery@photoeye.com

» View Emergent Behavior

Prints are limited editions and prices are subject to change. All prices listed were correct at the time the post was published; for current prices please contact Gallery Staff.

Thomas Jackson, Tulle no. 34_v1, Ocracoke Island, North Carolina, 2021, Archival Pigment Print, 30x38", $4,000

How close is too close to stand before an image? Because I want to get close enough to absorb the light radiating from this breathtaking photograph! Neon clouds of tulle glow against the contrasting deep, blue sky, while the warm reflection of the billowing fabric mimics the last rays from the setting sun across the beach. This mischievous photograph is full of rewards for those that want to step in and have a closer look!

Thomas Jackson explains that 2020 was the year he "tried to harness the wind," and that the Wind was, "the force that transformed my installations from lifeless fabric to living things." We often think about the wind as a destructive force, but the Wind has the ability to help things move that otherwise couldn't.

In collaboration with the wind, photo-eye Gallery is pleased to announce

a NEW image by the artist Thomas Jackson!

Born in Philadelphia, Pennsylvania Jackson grew up in Providence, Rhode Island. After earning a B.A. in History from the College of Wooster, he spent his early career in New York City working in book publishing, then as an editor and writer at Forbes Life magazine. An interest in photography books eventually led him to pick up a camera, shooting Garry Winogrand-inspired street scenes, then landscapes, and finally the installation work he does today. A self-taught artist (with the exception of a number of classes at the International Center of Photography in New York), Jackson has pioneered a unique working process that combines landscape photography, sculpture, and kinetic art. His work has been shown widely, including at The Photography Show (AIPAD) in New York, the Center for Contemporary Arts in Sante Fe, and the Bolinas Museum in Bolinas, CA. Jackson was named one of the Critical Mass Top 50 in 2012, won the “installation/still-life” category of PDN’s The Curator award in 2013, and earned second place in CENTER's Curator's Choice Award in 2014.

Travel back in time to the origin of the project, and watch the 2015 video in which photo-eye Gallery was honored to have Jackson deliver a pre-celebration gallery talk on his exhibition Emergent Behavior. During this talk, Jackson discusses the project's progression over time, its symbolic relationship with both sculpture and installation, and the future directions within his practice.

Gallery Talk: Thomas Jackson – Emergent Behavior gallery exhibition

Follow Thomas on Instagram for behind-the-scenes footage, like the videos below!

In this first video, Thomas takes a meter reading near his 4x5 camera, and we get to catch a glimpse of the support system used to suspend his ephemeral sculptures.

View this post on Instagram

A post shared by Thomas Jackson (@thomasjackson415)

Last week, Thomas was featured on the Pantone Instagram page. In this clip, he talks a little bit about his new work and process while on location!

View this post on Instagram

A post shared by PANTONE (@pantone)

Print costs are current up to the time of posting and are subject to change.

photo-eye Gallery is proud to represent Thomas Jackson.

For more information, and to purchase prints from Thomas Jackson

please contact Gallery Director Anne Kelly or Gallery Associate Jovi Esquivel

or you may also call us at 505-988-5152 x202

Lusty Wives Vol. #81, 2015 — Thomas Jackson

Inspired by Thomas Jackson's images, I now have a reoccurring daydream where post-its and a few other office supplies take flight from my desk, swarming in a powerful and rhythmic performance. Opening on May 29th, photo-eye Gallery is excited to host an exhibition of Jackson's large scale colorful images from his series Emergent Behavior. In this series man made objects assemble in powerful masses, taking on a life of their own as they co-exist with nature. To make these images, Jackson first imagines the composition and then constructs large suspended kinetic sculptures from colorful everyday objects, which are photographed, finally resulting in a still image. In anticipation of this exhibition, I've asked Jackson to share some insight on how his project came to be, his inspiration and creative process.—Anne Kelly

Lusty Wives by Thomas Jackson Late December by Angela Bacon-Kidwell

Thomas Jackson – Emergent Behavior & Angela Bacon-Kidwell – Home by Nightfall
Opening: Friday May 29th, 2015 from 5-7pm – Exhibition continues through July 4th, 2015

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

Review Santa Fe Closing Reception at photo-eye Gallery, Sunday June 14th

On Sunday June 14th, photo-eye Gallery was honored to host the closing reception for CENTER's renowned Review Santa Fe – a four day event featuring lectures on photography and portfolio reviews. In addition to the reception, we were thrilled that CENTER alumnus and 2014 Curator's Choice award winner Thomas Jackson generously flew in from California to deliver a pre-celebration gallery talk on his exhibition Emergent Behavior, currently on view at photo-eye Gallery. In the lecture, Jackson addresses the genesis behind Emergent Behavior as well the project's progression over time and its symbiotic relationship with both sculpture and installation. As the room is packed with fellow artists and engaged community members, the Q&A developed naturally and is particularly engaging as Jackson speaks to future directions within his practice.

Announcing
2019 Group Show
On View: February 22 - April 20, 2019
Opening: Friday, February 22nd, 5–7pm

photo-eye Gallery
541 South Guadalupe Street, Santa Fe, NM, 87501
– View Map –

photo-eye Gallery's 2019 Group Show features a diverse collection of contemporary photographic work created by select represented artists. The exhibition highlights new work from Julie Blackmon, Michael Kenna, James Pitts and Mitch Dobrowner alongside works previously unexhibited at photo-eye by Kate Breakey and Beth Moon.

The 2019 Group Show opens Friday, February 22nd from 5–7pm during the Last Friday Art Walk in Santa Fe's Railyard Arts District.

Included Artists:

Kate Breakey, Julie Blackmon, Mitch Dobrowner, Thomas Jackson, Michael Kenna, Clay Lipsky, Beth Moon, James Pitts, Brad Wilson, Reuben Wu

» View the 2019 Group Show » Directions to the Gallery

Exhibition Preview – Selected Works from the Upcoming 2019 Group Show

Julie Blackmon

Julie Blackmon, Fixer Upper, 2018,
Archival Pigment Print, 22x29" Image,
Edition of 10, $4000

Fixer Upper is the latest work in Blackmon's ongoing series of wry and satirical images commenting on American life in the 21st Century. Lately, Blackmon's work examines social and economic trends, as well as political ideology, through the domestic lens of home and family. Based in Springfield Missouri, Blackmon uses her immediate surroundings and extended family as inspiration for her imagery, often photographing on location in her hometown and employing friends and family members as models in her complex and intricately composed tableaux.

» View Julie Blackmon's Latest Works
» Books Available by Julie Blackmon

Mitch Dobrowner

Mitch Dobrowner, Fly Geyser, 2018
Archival Pigment Print, 20x30" Image
Edition of 25, $2500

Mitch Dobrowner's Fly Geyser is the most recent addition to the artist's continuing series of Western landscapes and landmarks. Captured using the artist's signature hand-modified DSLR with a long exposure, Fly Geyser is photographed with the reverence, awe, and humility we've come to expect from Dobrowner's landscapes. The image truly evokes a sense of natural wonder.

» Read More about Fly Geyser
» View Work by Mitch Dobrowner
» Books by Mitch Dobrowner

Thomas Jackson

Thomas Jackson, Straws no. 4, Mono Lake, California, 2015
Archival Pigment Print 30x38" Image
Edition of 5, $4000

Straws no. 4 is one of many playful installation-based images by Thomas Jackson from his series Emergent Behavior.

"The hovering installations featured in this ongoing series of photographs are inspired by self-organizing, 'emergent' systems in nature such as termite mounds, swarming locusts, schooling fish and flocking birds. The images attempt to tap the mixture of fear and fascination that those phenomena tend to evoke, while creating an uneasy interplay between the natural and the manufactured and the real and the imaginary." – Thomas Jackson

» View the Emergent Behavior Series

Michael Kenna

Michael Kenna, Mina, Study 3, Japan, 2011
Gelatin-Silver Print 8x8" Image
Edition of 25, $3000

Ten years ago, after a particularly tumultuous period in his life, Michael Kenna quietly made a decision to expand his photographic practice to include the human form. Kenna is well known for his minimalistic landscapes, and has been vocal in the past about the absence of the human figure in his photographs stating, "I feel they gave away the scale and became the main focus of the viewer’s attention." But, believing "fixed dogma is not a creative tool," Kenna has created Rafu, a series of female nude portraits made in Japan, highlighting form, uniqueness, and the interplay between the body and human-constructed environments. We are proud to feature six images from Rafu in the 2019 Group Show.

» Read Zoé Balthus' in-depth interview with
Michael Kenna about Rafu
» View the monograph published by Nazraeli
» See Additional work by Michael Kenna

Clay Lipsky

Clay Lipsky, Atomic Overlook: 02, 2012
Archival Pigment Print, 16x16" Image
Edition of 10, $1000

Clay Lipsky's Atomic Overlook re-contextualizes a legacy of atomic bomb tests. In an attempt to keep a nuclear threat feeling contemporary and omnipresent, Lipsky introduces archival images of atomic explosions among casual scenes of vacationers. He imagines an era where tourists gather to view bomb tests from "safe" distances. The surreal images speak to a voyeuristic culture where catastrophe is viewed as entertainment by increasingly desensitized masses.

» View additional work from Clay Lipsky's
Atomic Outlook series

» Purchase the Atomic Outlook book

James Pitts

James Pitts, Dried Gourd Leaves Diptych, 2018
Archival Pigment Print, 11x17" Image
Edition of 5, $650

Santa Fe based photographer James W. Pitts' primary focus for over 20 years has been on hand coating platinum prints from large format negatives. Pitts’ is debuting three new archival pigment ink still life images of gourds in the 2019 photo-eye Group Show. He explores the still life genera further, adding subtle color images to his vocabulary. Pitts credits a number of master painters as influences including Matisse. The new diptych (featured left) is part of an ongoing series which Pitts collects various plant life, the gourd in the image to the left is from his personal garden, with a backdrop that nods to Pollock. The results of these captures with his large format camera are classic, timeless photographic works of art
» View Additional Work by James Pitts

» Read our interview with Jim Pitts

Brad Wilson

Brad Wilson, Black Leopard #2, Monterey, CA, 2014,
Archival Pigment Print, 28x23" Image
Edition of 5, $1500

Black Leopard #2, Monterey, CA, is the signature image from Brad Wilson's 2017 solo exhibition at photo-eye Gallery, and one of our favorites from his Affinity series. In Affinity, Brad Wilson works with sanctuaries, trainers, and preservation institutions to create strikingly detailed animal portraits challenging viewers to connect on a deeper level with the subject.

» View Affinity by Brad Wilson

» Purchase a copy of Wilson's book Wild Life

» Read our Interview with Brad Wilson

Reuben Wu

Reuben Wu, LN 0309
Archival Pigment Print, 15x20" Image
Edition of 5, $950

After his first appearance as a represented artist with photo-eye Gallery at Photo LA earlier this month, Reuben Wu is making his Santa Fe debut in the 2019 group show with LN 0309 from his Lux Noctis series. Lux Noctis is a series of photographs depicting landscapes unbound by time and space, inspired by ideas of planetary exploration, 19th-century sublime romantic painting, and science fiction.

» View Lux Noctis by Reuben Wu

» Read Anne Kelly's interview with
Reuben Wu

Beth Moon

Beth Moon, Nepenthes Bicalcarata
Platinum/Palladium Print, 12x8" Image
Edition of 15, $1200

photo-eye is also honored to include six prints from Beth Moon's gorgeous Savage Garden series, installed for their exhibition premier. Printed in rich platinum/palladium, these intricate and formal portraits depict the delicate but dangerous nature of carnivorous plants.

"The poetic sensibility of nature seems to hover somewhere between paradise and tragedy. In these flesh-eating plants, we find a sinister beauty. Evolution has taught these carnivorous plants how to make the best of the conditions they grow in, honoring the darker more mysterious side of nature."

– Beth Moon

» View Additional Work by Beth Moon

» Books by Beth Moon

» Read Anne Kelly's interview with Beth Moon

• • • • •

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

Prices will increase as the print editions sell.

For more information, and to purchase prints, please contact Gallery Staff at

505-988-5152 x202 or gallery@photoeye.com

photo-eye Gallery 541 South Guadalupe Street, Santa Fe, NM 87501
–View Map–

Thomas Jackson, Tulle no. 12, 2020, archival pigment print, 20 x 25 inches, edition of 4, $2500

The year 2020 needs no introduction. Despite it all, the arts proved to be a vital refuge for everyone during these uncertain times — offering space to heal and reflect.

Because we had the opportunity of viewing so many wonderful and inspiring images, narrowing this rather unusual year down to 7 photographs was a difficult task — below you will find a few of our staff’s favorites.

A huge thank you for your interest and support this year. Enjoy our selection! And please contact us if you would like more information about our picks.

Thomas Jackson (see image above)

Thomas Jackson's whimsical and paradoxical constructions are inspired by self-organizing emergent systems in nature, such as schools of fish. The artist's practice explores ways to juxtapose the man-made against the natural by creating installations that are simultaneously in harmony and in conflict with their environments. To make images like Tulle no. 12, Jackson first imagines the composition, then constructs large kinetic sculptures from colorful objects (like colorful smoke bombs), and finally photographs them, resulting in a still image. To learn more about what goes on behind Thomas Jackson's images, read our interview with him here.

Julie Blackmon

Julie Blackmon, Bubble, 2020, archival pigment print, 22 x 22 inches, edition of 7, $6000

Focusing on the complexities of everyday life, Julie Blackmon explores the conflicting demands of parenthood. Her carefully orchestrated narratives walk a darkly humorous line between lightheartedness and the chaos of our modern lives. Bubble, for instance, brings forth childhood memories of warm summer days playing outside. But, it also brings a subtle reminder of our pandemic times — when examined more closely, anxiety lurks, as unsupervised toddlers eat apples inside a giant transparent bubble. Are they sheltered or trapped? You may learn more about Julie's practice here.

Mark Klett

Mark Klett, 4-25 1, gelatin silver print, 20 x 16 inches, edition of 50, $3500

With a career spanning over four decades, Mark Klett has advanced a new notion of landscape photography, one that reframes our idea of what “pictures of the land” can mean. His projects explore relationships between time, change and perception while exploring the language of photographic media as it evolves technologically.

Around 1987, Klett started the saguaro portraits. He would find a cactus that interested him, like the one in 4-25 1, and make photographs of the entire plant from a similar distance — showing top, bottom, and arms. The series was originally given the name Desert Citizens.

As part of our video series photo-eye Conversations, photo-eye Gallery Director Anne Kelly and Mark Klett did a virtual walk-through of Seeing Time: A Forty Year Retrospective, his recent online exhibition with the gallery. They also discussed the artist's prolific career and the making of his book. Watch this stimulating conversation on Vimeo.

Maggie Taylor

Maggie Taylor, The Harbinger, archival pigment ink, 8 x 8 inches, edition of 15, $1500

The Harbinger, by Maggie Taylor, combines old photos and illustrations, mainly representing a crow cawing on top of an uncanny flying device and a polar bear placidly swimming across an iceless sea. The resulting artwork is a surrealistic dreamscape that commands careful attention from the viewer.

Taylor's photomontages, a combinatinon of the historical and contemporary, consist of 19th century daguerreotypes, old illustrations, found photographs, and diverse objects and artifacts — all layered together through meticulous digital image editing. You may learn more about her work here.

Mitch Dobrowner

Mitch Dobrowner, Sunrise Over Lone Pine, 2020, archival pigment ink, 16 x 30 inches, edition of 25, $2500

Mitch Dobrowner has been photographing dramatic landscapes since his late teens. Moreover, working with professional storm chasers since 2009, he has traveled throughout America to capture extreme natural events, making stunning images of supercell storms and tornados. By waiting for the light and atmosphere to paint the landscape to his liking — accented by his custom-modified camera and long hours in the digital darkroom — Dobrowner has developed an unmistakable poetic style in the tradition of photography masters such as Ansel Adams and Minor White. With his high contrast expansive photographs of severe weather systems and towering majestic mountain ranges like Sunrise Over Lone Pine — Mitch Dobrowner has perfected the craft of landscape photography.

This year, as part of photo-eye Conversations, Anne Kelly asked Dobrowner about his practice and most recent work. Watch this amazing conversation on Vimeo.

Edward Bateman

Edward Bateman, Yosemite Gateway No. 1, archival pigment print with 3D printed landscape, 2020, 10 x 15 inches, edition of 8, $950

This enigmatic and alluring print, Yosemite Gateway No. 1, was created by photographing a 3D model. Produced by Edward Bateman during the ongoing pandemic, and with limited possibility of travel, the artist crafted the work from his kitchen table, using geographical data and a 3D printer.

Bateman's unique process yields captivating, abstract images depicting plastic filaments that explore the concept of the sublime through representations of the majestic landscapes of Yosemite National Park. To view this extraordinary series, check out the artist's current online exhibition Yosemite: Seeking Sublime.

As part of our video series photo-eye Conversations, Anne Kelly joined Edward Bateman in an online view of his fantastic exhibition. They discussed Edward's process in re-creating Yosemite among other things. Watch this great conversation on Vimeo.

Reuben Wu

Reuben Wu, RW4288, 2020, archival pigment ink, 15 x 20 inches, edition of 10, $1000

The incredible work of Reuben Wu blends a myriad of influences, from science fiction to 19th century romantic painting. In photographs such as RW4288, Reuben captured the sublimity of a total solar eclipse and — instead of using his signature drone lighting — for this image, Reuben embraced the available light to make yet another otherworldly and masterful photograph.

As part of photo l.a.'s Virtual Connect + Collect, we hosted a live conversation between Reuben Wu and publisher Kris Graves. We discussed the process behind the artist's work and the books they have collaborated on. Watch this amazing talk here.

• • • • •

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

For more information, and to purchase prints, please contact Gallery Director Anne Kelly or Gallery Assistant Patricia Martin, or you may also call us at 505-988-5152 x202

Social Media

>> Thomas Jackson on Emergent Behavior <<

Exhibition Preview – Selected Works from the Upcoming 2019 Group Show

Julie Blackmon

Mitch Dobrowner

Thomas Jackson

Michael Kenna

Clay Lipsky

James Pitts

Brad Wilson

Reuben Wu

Beth Moon

Thomas Jackson (see image above)

Julie Blackmon

Mark Klett

Maggie Taylor

Mitch Dobrowner

Edward Bateman

Reuben Wu