Michael Hower is an abandonment and graffiti photographer from Pennsylvania. His experience with digital photography began seven years ago. Over that time, he has explored numerous abandoned places over the Mid-Atlantic. His work has been displayed widely in over a hundred and fifty exhibitions and publications, featuring in shows at the Biggs Museum of Art, DE; Pennsylvania College of Technology, PA; Pennsylvania State Museum, PA and Marshall University, WV. The artwork is not just the photograph. The process starts before the photograph and continues after it is made. It begins with historical research and ends with the telling of forgotten stories. Michael photographs history by looking for places of deep significance, like the place featured here in the series “Perspectives in Eden,” the Irem Shrine in Wilkes-Barre. The Irem Shrine, an example of Moorish revival architecture was long home to the Shriners and had been a preeminent public events space in Northeast Pennsylvania for decades. The building’s doors have been shuttered for many years, but new ownership hopes to breathe new life into this forgotten jewel. “Perspectives in Eden” focus on the expansive main events hall along with its antechambers.
Jerome Berglund graduated summa cum laude from the cinema-television production program at the University of Southern California, and has spent much of his career working in television and photography. He has had photographs published and awarded in local papers and recently staged an exhibition in the Twin Cities area which included a residency of several months at a local community center. The most recent show featuring fine art photography, at the Pause Gallery in New York, opened in early December.
Dave Sims retired from thirty years of teaching writing and literature in the trenches of higher education to dwell and create in the endless mountains of central Pennsylvania. His digital art and comix now appear in numerous print and online publications, including Arkana, Stonecoast, Burningword, New Southern Fugitives, Nashville Review, RiversEdge, Chaleur, High Shelf, Toho Journal and the Raw Art Review, where he is a featured artist. In July of 2019, his piece “Worship” appeared in the Fusion Art Gallery’s “Lines, Shapes and Objects” juried online exhibit, and three of his works will appear in the Still Point Arts Gallery “Phenomenal Woman” exhibit that opens in December. Look for more of his art on Instagram at tincansims.
Meg Freer grew up in Missoula, Montana, where her father passed on to her his love of photography. She keeps visual images in her head for a long time and her inspiration for both poetry and photography often comes from intriguing juxtapositions and angles in the natural world, as well as the human world. She lives in Kingston, Ontario where she teaches piano, writes poetry and enjoys the outdoors. Her photos and poems have been published in literary journals and have won awards both in North America and overseas.
Mark Hurtubise. During the 1970s, numerous works were accepted for publication. Then family, teaching, two college presidencies and for 12 years president of an Inland Northwest community foundation. Recapturing the euphoria from the authors/artists he experienced decades ago, he is attempting to create again by balancing on a twig like a pregnant bird. Within the past two years, his pieces have appeared in Apricity Magazine (Texas), Adelaide Literary Magazine (New York), Bones Journal (Denmark), Modern Haiku (Rhode Island), Ink In Thirds (Alabama), Atlas Poetica (Maryland), The SpokesmanReview (Washington), Frogpond Journal (New York), Stanford Social Innovation Review and Alliance (London).
Karyna Aslanova is a Kyiv-born Ukrainian multimedia artist, director, and photographer. Karyna studied Theatre Directing at The National Academy of Government Managerial Staff of Culture and Arts, Kyiv, Ukraine and although photography is her principle medium, Karyna also uses video, painting and illustration, and poetry to further her exploration into a multitude of subjects. Karyna’s art photography projects often use other-worldly imagery to reflect modern social issues, with a vague but familiar base note perceptible through a haze of the strange and incongruous.