jump to navigation

Portraiture via Gunpowder: Photographer Dewey Keithly and artist Cai Guo-Qiang November 20, 2017

Posted by bohdan.warchomij in : Metaphor Online , comments closed

Photo Dewey Keithly

Salt Lake City-based photographer Dewey Keithly recently came up with an unusual way to edit the look of portraits: he creatively burned them by igniting gunpowder across the surface of the giant prints.

Kiethly originally came up with the idea after watching the documentary Sky Ladder and seeing the work of Chinese artist Cai Guo-Qiang, who’s known for creating art with controlled gunpowder explosions.

To create the portraits for an event put on by SilencerCo, a manufacturer of firearm silencers, Keithly shot digital photos and then printed each portrait in both color and B&W using a large format Epson printer.

Photo Dewey Keithly

Next, Keithly tore and layered the color and B&W versions of the prints together using artist glue. Finally, he lined the tears and gaps in the works with different types of gunpowders and ignited them, sealing them and using the explosions to blend the prints together.


Cai Guo-Qiang

Cai Guo-Qiang

While living in Japan from 1986 to 1995, Cai Guo-Qiang began exploring the properties of gunpowder in his drawings. Cai’s use of gunpowder has become central to his practice, leading to his experimentation with explosives and the development of his signature ignition events. Drawn to the medium for its myriad of associations, his gunpowder work, in addition to his repertoire of large-scale installations and social projects, draws upon Eastern philosophy, Maoist sentiment, and contemporary social issues. Though his fireworks are immediate signifiers of Chinese culture, Cai’s aim is to transcend these boundaries, establishing dialogue between viewers and the world around them. His site-specific work often alludes to the culture or history of the city or region where his work is presented, as in his series of ignitions “The Century with Mushroom Clouds: Project for the 20th Century” (1995-96), conducted at symbolic locations in the United States to, as Cai has said, “depict the ‘face’ of the nuclear bomb that represents modern-day technology.”


Cai Guo-Qiang

The Meraki Exhibition November 20, 2017

Posted by bohdan.warchomij in : Metaphor Online , comments closed

Illustration Exhibition at Team Digital in Perth November 18, 2017

Posted by bohdan.warchomij in : Metaphor Online , comments closed

Photo Jean Wilson

Jean Wilson

Lucky to have checked out Team Digital’s post on FB on their exhibition of illustrative photography at the opening of the Artisan Collective exhibition. An amazing collection of illustrative imagery from artists who should be household names. Rebecca Johansson, Jessica Truscott, Jean Wilson, Leah Kennedy, and Kelly Barker not only exhibited their exquisite prints but talked about the process and techniques they use to produce them. The evening, conceived, produced and put together by the hard working Ben Walton, was an inspiration.

Ben Walton Team Digital

Rebecca Johansson

The exhibition will be up at Team Digital in Perth until 14th December 2017. It is not to be missed. Congratulations to all involved.

Leah Kennedy

Kelly Baker

Rebecca Johansson


Jessica Truscott

The William and Winifred Bowness Photography Prize: Winner Polixeni Papapetrou November 13, 2017

Posted by bohdan.warchomij in : Metaphor Online, William and Winifred Bowness Photography Prize , comments closed

One of Australia’s most established photographers Polixeni Papapetrou has won Australia’s most prestigious photography prize, the $30 000 William and Winifred Bowness Photography Prize with her work ‘Delphi’ (2016) from the series Eden.

“This year’s Bowness Photography Prize exhibition is a big jewellery box full of treasure. And the winning photograph is an absolute gem!” said judge Susan Fereday.

This year’s judging panel, artist and educator Susan Fereday, architect and collector Corbett Lyon, and MGA Senior Curator Stephen Zagala selected Papapetrou’s work from a record 897 entries – the largest number received in the history of the prize.

Established in 2006 to promote excellence in photography, the annual William and Winifred Bowness Photography Prize is an initiative of the MGA Foundation. The Bowness Photography Prize has quickly become Australia’s most coveted photography prize. It is also one of the country’s most open prizes for photography. In the past, finalists have included established and emerging photographers, art and commercial photographers. All film-based and digital work from amateurs and professionals is accepted. There are no thematic restrictions.

Finalists include: Hoda Afshar, Tim Allen, Rushdi Anwar, Kris Arnold, Robert Ashton, Peter Barnes, Del Kathryn Barton,  Colin Batrouney, Elaine Batton, Olga Bennett, Vanessa Bertagnole, Tom Blachford, Polly Borland, Peter Bratuskins, Eric Bridgeman, Jane Burton, Elaine Campaner, Stuart Chape, Danica Chappell, Peta Clancy, Emilio Cresciani, Gerwyn Davies, Lauren Dunn, Tanya Maria Dyhin, Amos Gebhardt, Silvi Glattauer, Robert Hague, Rhett Hammerton, Alana Holmberg, Eliza Hutchison, Leah King-Smith, Peter Lambropoulos, Helga Leunig nee’ Salwerowicz, Jon Lewis, Janelle Low, Tayla Martin, Kent Morris, Nasim Nasr, Will Nolan, Jill Orr and Christina Simons, Polixeni Papapetrou, Izabela Pluta, Jenny Pollak, Clare Rae, Kate Robertson, David Rosetzky, Jo Scicluna, Damien Shen, Matthew Sleeth, David Stephenson and Martin Walch, Suellen Symons, Christian Thompson, Tobias Titz, James Tylor, Henri van Noordenburg, Justine Varga, Lisa Walker, Amanda Williams, Robin Williams.

Antoine D’Agata MANIFESTO November 10, 2017

Posted by bohdan.warchomij in : Metaphor Online , comments closed

Manifesto by Antoine d’Agata will be launched on November 11th at in)(between gallery and a book signing will take place at Paris Photo, Galerie les Filles du Calvaire booth, on November 12th.

come and join us:

in)(between / 39 rue Chapon / 75003 Paris from 7 PM until 11PM on November 11th.


Paris Photo / Grand Palais / Avenue Winston Churchill / 75008 Paris at Galerie Les Filles du Calvaire (booth A20) from 1PM until 3PM, on November 12th.

Manifesto / Antoine d’Agata
416 pages
25 x 30 cm
501 images

special edition / black cover signed / special book launch price : 80 euros.

Tattoo Photos on the Run Bohdan Warchomij November 8, 2017

Posted by bohdan.warchomij in : Metaphor Online , comments closed

Art on the run in Midland, City of Perth, Australia. Photos Bohdan Warchomij

A Single Day: Louise Devenish and Jackson Vickery Photos Bohdan Warchomij November 7, 2017

Posted by bohdan.warchomij in : Metaphor Online , comments closed

A Single Day

Louise Devenish and Jackson Vickery performed at dawn on Saturday and it was an honour to be there for a  4.45am concert start, vibraphone, gongs and bowls.


A one-off, innovative and moving concert event, A Single Day revealed the beauty of one day passing, through four musical encounters with the changing light and historical landscape of Fremantle.

A promenade of 1-hour concerts traced a single day from darkest midnight, through the gentle dawn and midday sun, to conclude at dusk.

Australia’s finest musicians  performed in four unique locations across Fremantle, tailoring the music to celebrate each point on the trail.  The experience changed the way one thinks about music, performance and the iconic spaces of Fremantle.

The program  included piano works by Oliver Messiaen, percussion works led by Louise Devenish, a midday shimmering of brass led by Josh Davies, and Vaughan-Williams and Schumann at sunset.

These were  Night and Dawn performances.

A Single Day is supported by the Fremantle Prison, WA Maritime Museum, Fremantle Ports and the University of Notre Dame.


The New Yorker: The Abandoning of Raqqa. Story by Luke Mogelson Photos by Mauricio Lima November 2, 2017

Posted by bohdan.warchomij in : Mauricio Lima, Metaphor Online, New Yorker , comments closed

An amazing story from The New Yorker. Sometimes I need to share information and literature that is significant in a world of weak news. In a complex world journalists dealing with complex stories are a breath of fresh air. Luke Mogelson worked for The New Yorker Magazine on a story funded by the Pulitzer Centre for crisis reporting. In the video below he explains his involvement. Below is an excerpt from The New Yorker article. 


In August, in the living room of an abandoned house on the western outskirts of Raqqa, Syria, I met with Rojda Felat, one of four Kurdish commanders overseeing the campaign to wrest the city from the Islamic State, or isis. Wearing fatigues, a beaded head scarf, and turquoise socks, Felat sat cross-legged on the floor, eating a homemade meal that her mother had sent in a plastic container from Qamishli, four hours away, in the northeast of the country. In the kitchen, two young female fighters washed dishes and glanced surreptitiously at Felat with bright-eyed adoration. At forty years old, she affects a passive, stoic expression that transforms startlingly into one of unguarded felicity when she is amused—something that, while we spoke, happened often. She had reason to be in good spirits. Her forces had recently completed an encirclement of Raqqa, and victory appeared to be imminent. The Raqqa offensive, which concluded in mid-October, marks the culmination of a dramatic rise both for Felat and for the Kurdish political movement to which she belongs. For decades, the Syrian state—officially, the Syrian Arab Republic—was hostile to Kurds. Tens of thousands were stripped of citizenship or dispossessed of land; cultural and political gatherings were banned; schools were forbidden to teach the Kurdish language.

Qamishli, Felat’s home town, has long been a center of Kurdish political activity. In 2004, during a soccer match, Arab fans of a visiting team threw stones at Kurds, causing a stampede; a riot ensued, during which Kurds toppled a statue of Hafez al-Assad, the father and predecessor of Syria’s current President, Bashar. Government security forces subsequently killed more than thirty Kurds. Amid the crackdown, a new Kurdish opposition group, the Democratic Union Party, organized and recruited clandestinely.

In 2011, when anti-government protests began spreading throughout Syria, Felat was studying Arabic literature at Hasakah University. The daughter of a poor farmer, she’d begun her studies late, “for economic reasons,” she told me. Along with several dozen other students, Felat left the university and returned to Qamishli. Within a week, Felat, who’d harbored ambitions of attending Syria’s national military academy and becoming an Army officer, had joined the Democratic Union Party’s militia, the Y.P.G. After a day of training, she was issued a Kalashnikov.

Felat expected to fight the regime. But, as the anti-government demonstrations evolved into an armed rebellion and insurrections broke out in major cities, Assad withdrew nearly all the troops he had stationed in the predominantly Kurdish north. The Democratic Union Party allowed the regime to maintain control of an airport and of administrative offices in downtown Qamishli. Arab opposition groups decried the arrangement as part of a tacit alliance between Assad and the Kurds. Islamist rebels began launching attacks in northern Syria, and the Y.P.G. went to war against them. “Many Kurdish families brought their daughters to join,” Felat told me. “Many women signed up.” She described her female compatriots as “women who had joined to protect other women” from extremists and their sexist ideologies.

In 1997, the United States added the P.K.K. to its list of foreign terrorist organizations, and two years later the Central Intelligence Agency helped Turkish agents capture Öcalan. Placed in solitary confinement on a prison island off Istanbul, he did what many people would do: he read. He became fascinated by an obscure American political theorist—a Communist turned libertarian socialist named Murray Bookchin. The œuvre of Bookchin, who died in 2006, is vast and dense (a typical title is “The Philosophy of Social Ecology: Essays on Dialectical Naturalism”). Öcalan was particularly influenced by Bookchin’s advocacy of “libertarian municipalism”: the proposition that citizens, instead of attempting to change, overthrow, or secede from oppressive capitalist governments, should build confederations of “popular assemblies” that can function as a parallel system within existing states. In 2004, one of Öcalan’s German translators wrote to Bookchin—then eighty-three and bedridden, with osteoarthritis, in Vermont—to inform him that Öcalan was determined to “implement your ideas.” Bookchin confessed to the translator that he wasn’t really familiar with Öcalan. “Thanks to our parochial press, Americans are barely informed about Kurdish affairs,” he wrote.

Öcalan, who remains imprisoned, has published many pamphlets. In 2011, he released “Democratic Confederalism,” in which he repudiates the pursuit of an independent Kurdish state, on the ground that nation-states are inherently repressive, sexist, and complicit in the depravities of “the worldwide capitalist system.” He also discusses the peril of Middle Eastern nations’ being defined by religion or ethnicity. As an alternative, Öcalan suggests creating decentralized networks of community councils, where all “cultural identities can express themselves in local meetings.”

The P.K.K. had always included female guerrillas; the longer Öcalan remained in prison, however, the more preoccupied with feminism he became. In a 2013 manifesto, “Liberating Life,” he writes that “the 5,000-year-old history of civilization is essentially the history of the enslavement of women,” and argues that no genuine political emancipation can happen without first achieving gender equality.

The P.K.K. adapted to Öcalan’s evolving ideas with surprising facility. But over the years many of its members, seeking refuge from the Turkish authorities, decamped to Iraq’s remote Qandil Mountains, where there was little society to revolutionize. Öcalan’s vision seemed destined to remain the utopian fancy of—as Bookchin called himself—“an old radical.” But then the Democratic Union Party came into possession of most of northern Syria.

Photo Mauricio Lima for the New Yorker

Here is the complete story:


Fremantle International Portrait Prize won by Hungarian photojournalist Istvan Kerekes October 31, 2017

Posted by bohdan.warchomij in : Fremantle International Portrait Prize, Metaphor Online , comments closed

SKIN: Portraits for International Psoriasis Day by Bohdan Warchomij in the foyer of the Western Australian Ballet Centre October 31, 2017

Posted by bohdan.warchomij in : Metaphor Online , comments closed

Tanya Brown was diagnosed with Psoriasis and Psoriatic Arthritis at the young age of 14 years. She showed courage in allowing the community a view into her journey through an intimate photographic exhibition showing what Psoriasis does to her body. The exhibition was on this evening only – at the WA Ballet centre on Whatley Crescent in Maylands.

“Working with Tanya was a powerful experience that taught me about poriasis and I learnt about what is required to deal with the condition on a daily basis. I applaud her courage.”

Bohdan Warchomij Photographer

Sunday was World Psoriasis Day. Thanks to the people who turned up to support the exhibition.

29th October 2017
Psoriasis is a painful, severe, chronic non-communicable disease (NCD) of the immune system. It affects over 125 million people around the world. Symptoms are most visible on the skin, which can become inflamed, bleed, crack, itch or shed scales. However, psoriasis is not a skin disease. Over a third of people living with psoriasis of the skin also develop psoriatic arthritis. This is an inflammatory arthritis affecting  joints and tendons.
#psoriasis #psoriaticarthritis #worldpsoriasisday2017