ARTisSpectrum | Volume 29 | artisspectrum.com
n her photographs,
says that she is aiming to
capture “a parallel reality that only exists when it is
spotted by the eye, and immortalized by the camera.”
Her mastery of light and composition is able to vividly
communicate that parallel reality. Calling herself
an “urban photographer,” she produces distinctive,
evocative images that provide a multi-faceted view of
city life — capturing its moments of solitude and quiet
as well as its hustle and bustle.
Shifa creates her unique worlds by striking a balance
between the two sides of reality as she sees it. On
one hand, she uses the camera to record the objects,
people and textures of the physical world with a
precise clarity. But on the other, she ingeniously
employs the camera’s ability to distort what it sees,
fracturing a crowd scene into a kaleidoscopic pattern,
or turning a solitary figure into a dreamy, cloudlike blur. She also digitally manipulates images to turn the recorded images
into moments that exist as she sees them in her mind’s eye. “I would like my moments to add beauty,” she says, “and maybe
change the way my viewers see the world that surrounds them.”
Shifra is an award-winning artist who has had an album of her works published and has exhibited in both group and solo
In my Dreams - The Black Series 13 Photographic Print 12” x 16.5”
eter F. Carr
’s quiet landscapes show, in the artist’s
words, “where mankind and nature meet.” As
rendered by Carr, with the aid of two essential artistic
tools, the transition is seamless. His first technical
feat is that of composition: his houses, stone walls,
and churches fold seamlessly into their environment,
whether it is the hills of the Italian countryside or a
pristine lakeshore. Carr positions his buildings with
a kind of comfortable intimacy, placing them in the
middle distance and making great use of the angles
and internal framing of manmade construction to
create intricate views. Greenery, both potted and wild,
crowds the edges of each piece, reminding the viewer
that nature is never far away.
Carr’s other great tool is his command of light and
the way that it affects atmosphere. In his airy pictures
showing rooftops, trees, and rolling fields, all tinted with the same early-morning sun and glazed with the same dew,
he shows us that above all else, man, flora, and fauna are united by the very air we breathe.
Peter F. Carr is Australian-born and works exclusively in oil on board or canvas. He begins with
plein air
sketches and
photos, and then moves to the studio to create his paintings using his own slow, thoughtful creative method.
Misty morning, Varenna, Lake Como Oil on Board 12” x 16”
Peter F. Carr
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