ELSE is six years old. Eager to broaden, the magazine brings together various genres into dialogue and mostly aspires to be a privileged witness of tomorrow’s practices.
In an era of massive flows of digital images, photography has never so much travelled or generated so many artistic projects. Which notably explains why the present issue presents its set unusual original portfolios: Thierry Bouët offers insight into his current series in progress, reflecting about the life of individuals who live on a slanted plane; Paul Bogaers disconcerts us with his trompe-l’oeil photographs and their literally materialized frames; Jill Quigley revitalizes old cottages in her native Northern Ireland, while her compatriot Mary Hamill reveals a very personal bouquet of tulips.
Contemporary artists take hold of found objects and divert them, like Adrian Hermanides creating breathtaking prints from abandoned negatives. In contrast to these contemporary approaches, ELSE always keeps a close eye on archival photographs. Anonymous and often forgotten, these series from the past carry within them a captivating narrative power: Thierry Struvay reveals a fantastic series of “drinkers,” while twelve color photographs by Les Krims compose a visual poetry through a very simple scene of life—cleaning the car with the hose—for those who will take the time to look at them.
Images have multiple layers, each with its own buried secrets. Such is the role of the beholder, to bring them to light. By opting for the printed page, ELSE favors the slow time and swims counter-current. At a time of surface swimmers immersed in the flow of images, we are offering a photographic dive. And fantasy is honored in the Collection portfolio with Suzi Pilet, celebrating her 100th birthday this year, and her “Inner Landscapes” through a series of portraits that invite to contemplation.