$3.99 • Issue 001 • July/August • 2018 (Digital Product)
ISSUE 001 • July/August • 2018
Welcome to the premier issue of Mono Chroma magazine, a space where we will explore fine art photography from emerging and established artists. Up first is our cover artist Patty Carroll who explores the idea of housewife in her series, Anonymous Women: Domestic Demise, the brilliant colours and snappy sets are reminiscent of pages one could find in a magazine of the 1960’s, except in this version the women are being drowned, attacked and smothered by the classical surroundings of house and home.
Stability and ease are things we all crave as humans, and yet, at the same time, we strive to move forward and create, changing the landscape of not just our homes but our cities and our lives, generation after generation. In my essay, New Beginnings, I explore this notion of change.
Ervin A. Johnson’s feature #InHonor is a poignant and beautiful series based upon, as Johnson says, “a response to the killings of black people across America.” Johnson’s portraits draw you in; the collages are made up of squares; the images stare back at you, pieced together, big brown eyes, hooped earrings, a mouth missing here, and a mouth circled elsewhere. The faces are whole, put back together, box by box. The collage becomes the whole and the hope that all of us can be put back together once we have been torn apart.
Dominic Lippillo plays with the landscape, point of view and place in his series Stories We Tell Ourselves, where he photographs generic American landscapes such as fields, ranches, and children’s backyard playgrounds. He inserts figures into the photos (purchased through second-hand shops) and plays with positioning and context to draw the viewer into a new story.
Calvin Chen’s series How Kids Play, showcases underprivileged children at play, those with less means to buy shiny, happy toys. Yet, the children look happy, smiling, engaged as they climb logs, ride a bike across a sparse landscape, wrap a turtle in one’s shirt and hold their hands out to feel the rain while, what appears to be a small monkey, wraps its arms and legs around the other arm of a small girl. The tactile image of their hands always reaching for each other, for the next thing they can find to play with is more natural than any toy commercial.
Mark Hooper’s series Limits takes everyday objects and “stages them like vintage science experiments,” the photos are crisp, engaging, and ask you to look at the everyday objects seen on a regular basis in a new light. Who knew that a bottle, that almost looks like a beaker, full of safety pins against a draped background could be beautiful? But it can.
Rebecca Sexton Larson says that her series, Idioms, “is born out of literary curiosity and romantic vision.” She creates her images through the use of her extensive library of stock photos, putting them together to create her own stories––books line a path in the forest, shadows and lights dance throughout, drawing us into her world.
Sandra Djak Kovacs