Bubi Canal is a Spanish artist who has recently had an exhibition of his work Into the Gloaming, at the Contemporary Arts Centre in Ohio. The exhibition was curated by Maria Seda-Reeder, who described the work as "Simultaneously childlike and mysterious, it feels really authentic and spontaneous" and says it is like a mix of a class photo and a royal photo, which indicates both childlike innocence and playfulness intertwined with seriousness and power.
I believe Canal could be influential to my work because it offers a different way of capturing fantasy photography that I hadn't considered before. It's important to expose myself to new styles of photography that is along the brief trajectory of where my work is heading, as to be able to pull certain things, whether it be visual or conceptual, into my own work and understanding of fantasy.
Marc Feuster writing for the British Journal of Photography (BJP) described the work as being a whole mash of influences including sculpture, portraiture, fashion photography, mythology, Japanese game shows, children's toys and fantasy.
Personally, I can see the fashion photography mixed with mythology most prominently within the images due to the lighting being so focused on the subject and intensely bright colours.
The way this style is used with the accompanying landscape however is incredibly interesting; he uses it as contrast.
The title 'Into the Gloaming' comes from the term for the transition between day and night - which is called 'gloaming'. It's as if the artist is inviting us into a new world - the Gloaming. Somewhere mostly unknown and with reference to his photos - somewhere where things and creatures we do not know belong.
A sentence that has stuck with me during my research of this work is Seda-Reeder's comment that "the artist presents a personal universe of characters that reflect his expansive imagination and influences as diverse as Cantabrian mythologies and vintage Japanese television shows—creating his own distinctive folklore for a contemporary audience.". This feels like exactly what i'm aiming to do and it's reassuring that this is acceptable by curators and audiences. I want to invite people into the make-believe world of my own.
"Canal explores his own internal landscape by going beyond any limits of reason and entering into the unknown" is also declared upon the Contemporary Arts Centre website. I think this statement is rather poetic and describes not only this world but the world of fantasy accurately.
On the Spanish Culture website, they claim that "At the core of Canal’s work is the idea that we have the power to manipulate and change the world that surrounds us in order to realize our dreams." - which is actually rather helpful to me because while I admire the visuals I don't really get it as such. But perhaps we don't need to, because it's made up. But then you could argue that all photography is made up.
What I take from this work is that it's very free feeling - it feels fresh, raw and truly creative. I completely understand Seda-Reeder's comment on how it feels spontaneous and authentic, and I believe this is because it's authentic to Canal's mind and imagination. The contents of the image is something so new and weird and out there that it's hard not to look at the absurdities.
It feels like Canal has given himself permission to run wild with the project and becomes almost like a child's craft project in a more mature and refined way, but at the same time you know so much curation and planning has gone into them. This effortless look is not easy to create.
In terms of how he goes about actually producing the work, it sounds very similar to what i've been practising with my own work. He says 'I usually begin by assembling pieces which I later incorporate into my images. When i'm creating there's always room for improvisation and experimentation". I find this way of working rather freeing - and it confirms that he allows his creativity to be released and doesn't restrain his mind or imagination. While this sounds easy, I know from personal practice that it's hard to not shut things off immediately when you don't think things will be well received.
I believe Canal could be influential to my work because it offers a different way of capturing fantasy photography that I hadn't considered before. It's important to expose myself to new styles of photography that is along the brief trajectory of where my work is heading, as to be able to pull certain things, whether it be visual or conceptual, into my own work and understanding of fantasy.
Marc Feuster writing for the British Journal of Photography (BJP) described the work as being a whole mash of influences including sculpture, portraiture, fashion photography, mythology, Japanese game shows, children's toys and fantasy.
Personally, I can see the fashion photography mixed with mythology most prominently within the images due to the lighting being so focused on the subject and intensely bright colours.
The way this style is used with the accompanying landscape however is incredibly interesting; he uses it as contrast.
The title 'Into the Gloaming' comes from the term for the transition between day and night - which is called 'gloaming'. It's as if the artist is inviting us into a new world - the Gloaming. Somewhere mostly unknown and with reference to his photos - somewhere where things and creatures we do not know belong.
A sentence that has stuck with me during my research of this work is Seda-Reeder's comment that "the artist presents a personal universe of characters that reflect his expansive imagination and influences as diverse as Cantabrian mythologies and vintage Japanese television shows—creating his own distinctive folklore for a contemporary audience.". This feels like exactly what i'm aiming to do and it's reassuring that this is acceptable by curators and audiences. I want to invite people into the make-believe world of my own.
"Canal explores his own internal landscape by going beyond any limits of reason and entering into the unknown" is also declared upon the Contemporary Arts Centre website. I think this statement is rather poetic and describes not only this world but the world of fantasy accurately.
On the Spanish Culture website, they claim that "At the core of Canal’s work is the idea that we have the power to manipulate and change the world that surrounds us in order to realize our dreams." - which is actually rather helpful to me because while I admire the visuals I don't really get it as such. But perhaps we don't need to, because it's made up. But then you could argue that all photography is made up.
What I take from this work is that it's very free feeling - it feels fresh, raw and truly creative. I completely understand Seda-Reeder's comment on how it feels spontaneous and authentic, and I believe this is because it's authentic to Canal's mind and imagination. The contents of the image is something so new and weird and out there that it's hard not to look at the absurdities.
It feels like Canal has given himself permission to run wild with the project and becomes almost like a child's craft project in a more mature and refined way, but at the same time you know so much curation and planning has gone into them. This effortless look is not easy to create.
In terms of how he goes about actually producing the work, it sounds very similar to what i've been practising with my own work. He says 'I usually begin by assembling pieces which I later incorporate into my images. When i'm creating there's always room for improvisation and experimentation". I find this way of working rather freeing - and it confirms that he allows his creativity to be released and doesn't restrain his mind or imagination. While this sounds easy, I know from personal practice that it's hard to not shut things off immediately when you don't think things will be well received.
Bubi Canal
Reviewed by BethCorbett
on
November 12, 2019
Rating:
Reviewed by BethCorbett
on
November 12, 2019
Rating:
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