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Virtual Collect + Connect Photo LA
Viewing Room
SIT DOWN gallery is pleased to participate in the first edition of Virtual Collect + Connect Photo L.A.
Join us online from June 27 to 28 for our very first virtual photo salon on our interactive 3D stand accessed via the Whova app
More information on the photo L.A. website.
With : Tom WOOD, Sacha VAN DORSSEN, Robert McCABE, Florian RUIZ
Tom WOOD
From the early seventies to the present day, Tom Wood has been photographing untiringly generations of Liverpool’s citizens in the street, the bus, at work and at play.
Known as the “Photie Man“ by Liverpudlians, Tom Wood transcends photographic practice, wishing to know and to connect with people; there emerges a true complicity with the photographer, a clear connection in their confident looks oriented toward the camera lens.
The philosopher Wittgenstein spoke of the understanding which consists of ‘seeing connections’. “Just as we see a face differently when you look at it, first as an expression of happiness then as an expression of pride”. He once admonished a friend, “you don’t take enough notice of peoples faces… it is a fault you ought to correct”!
A real tribute to women, men, families and to human nature, Tom Wood demonstrates again and again, a truly human look on the human.
Mothers, Daughters, Sisters | Great Homer Street Market, Liverpool, 1991
Analogue hand darkroom print
291/8 x 201/2 inches
Signed and numbered by the artist on verso
Édition of 7 all sizes included + 2 AP
Bus Odysssey | Untitled, 1989
Vintage gelatin silver print, printed by the artist
91/4 x 143/4 inches
Signed and stamp by the artist on verso
All Zones Off Peak | Between Birkenhead and Wallasey, 1992
Vintage analog dark room C-type print mounted on Dibond
393/4 x 27 inches
Edition of 9 + 2 AP
Other sizes available on request
Photieman | Red Head, 1986
Pigment print on Hahnemühle Fine Art paper
271/2 x 235/8 inches
Signed and numbered by the artist on verso
Edition of 12 + 2 AP
Other sizes available on request
People | Vale Park Wallasey, 1983
Vintage gelatin silver print selenium toned made by the artist
157/8 x 117/8 inches
Signed and numbered by the artist on verso
Edition of 9 + 2 AP
Photieman | Olympian Going Home, 1984
Vintage gelatin silver print made by the artist
231/4 x 133/4 inches
Titled, dated and signed by the artist on verso
Edition of 7 + 2 AP
Men & Women | Not Miss New Brighton, 1978
Analog hand print mounted on Dibond
235/8 x 195/8 inches
Signed and numbered on the back of the frame by the artist
Edition of 7 all sizes included + 2 AP
Photieman | Gangolads, Anfield, 1992
C-type Analogue Hand Darkroom Print
195/8 x 271/2 inches
Numbered and signed by the artist on verso.
Edition of 7 all sizes included + 2 AP
All artworks © Tom Wood courtesy Galerie Sit Down
SACHA
A selection of iconic photographs by Dutch-born fashion photographer Sacha van Dorssen, aka “Sacha“ is displayed. Primarily produced for the most important fashion magazines or prestigious advertising campaigns, Sacha’s pictures reflect fashion photography changes from the 1970s. She selected her models for their naturalness, sensuality and magnified them throughout spectacular outdoor settings all over the world.
After a Late Party at Château de Rarey, France, 1988
Pigment Print on Barita Paper
235/8 x 353/8 inches
Signed and numbered by the artist
Edition of 5 + 2 AP
Other sizes available upon request
Eleonore Klarwein wearing Yves Saint Laurent, Bahia, 1983
Pigment Print on Barita Paper
353/8 x 235/8 inches
Signed and numbered by the artist
Edition of 5 + 2 AP
Other sizes available upon request
Vibeke Knudson wearing Pierre Marly sunglasses, Paris, 1971
Pigment Print on Barita Paper
235/8 x 153/4 inches
Signed and numbered by the artist
Edition of 9 + 2 AP
Other sizes available upon request
Sébastienne wearing Issey Miyake, Togo
Pigment Print on Barita Paper
353/8 x 535/8 inches
Signed and numbered by the artist
Edition of 5 + 2 AP
Other sizes available upon request
Bénédicte Siroux wearing Fortuny, Venice, 1979
Pigment Print on Barita Paper
235/8 x 153/4 inches
Signed and numbered by the artist
Edition of 9 + 2 AP
Other sizes available upon request
Ad for Yves Saint Laurent, La Menara, Marrakech
Pigment Print on Barita Paper
235/8 x 153/4 inches
Signed and numbered by the artist
Edition of 9 + 2 AP
Other sizes available upon request
Veronica Webb wearing Ungaro, Miami Beach, 1987
Pigment Print on Barita Paper
353/8 x 235/8 inches
Signed and numbered by the artist
Edition of 5 + 2 AP
Other sizes available upon request
All artworks © Sacha Van Dorssen courtesy Galerie Sit Down
ROBERT McCABE
The American born photographer, Robert A McCabe, began taking photographs in Greece in the 1950s, before mass tourism, and when the islands and villages each still maintained their unique traditional culture.
In his pictures, McCabe has captured authentic scenes of Aegean life that can never be duplicated. He also photographed many archaeological sites and has a unique record of their condition after the War.
“Through his artistic vision, the art of Robert McCabe brings us back to an older Greece, when the light was stronger, clearer, and the monuments appeared to be revealed for the first time.“
Dr Vasileios Petrakos (General Secretary of the Archeological Society of Athens and General Secretary of the Academy of Athens)
“ … The images ennoble this cradle of western culture and exalt its values and traditions. The documentary interest of the work of Robert McCabe is undeniable, tied to a strong sense of nostalgia. Through their generous square format the photographs offer minute detail, and reveal a country displaying a very rural character, and an antiquity which has not yet been taken over by mass tourism. Robert McCabe encountered a society that was often poor but always dignified. He shows the Acropolis before it was hemmed in by the city. The photographer meets archaeologists who are working with means which today might seem rudimentary. As for the landscapes, they are delivered here in all their purity. There is no place where the sea light has an equivalent and the way Robert McCabe presents it in a precise and nuanced black and white underlines even more their exceptional visual properties. This photographic voyage translates the enthusiasm, the pleasure of discovery: precious happiness which gives us the feeling that until now is has been shared with very few.“
Gabriel Bauret. Curator
Rhodes 1954. This Aphrodite Aidoumene was found in the sea in 1929.
Gelatin Silver Print
437/8 x 431/8 inches
Signed and numbered by the artist
Edition of 3 + 1AP
Other sizes upon request
The Aegean 1955. Deck class abord the Despina
Gelatin Silver Print
24 x 197/8 inches
Signed and numbered by the artist
Edition of 10 + 3 AP
Other sizes upon request
Santorini 1955. Children ringing church bells for a funeral
Gelatin Silver Print
24 x 197/8 inches
Signed and numbered by the artist
Edition of 10 + 3 AP
Other sizes upon request
Delphi 1954. The Photographer
Gelatin Silver Print
24 x 197/8 inches
Signed and numbered by the artist
Edition of 7 + 3 AP
Other sizes upon request
Epeiros 1961. Three Friends
Gelatin Silver Print
24 x 197/8 inches
Signed by the artist
Unlimited edition
Other sizes upon request
Corinth 1961. Charles McCabe at the Temple of Apollo
Gelatin Silver Print
24 x 197/8 inches
Signed and numbered by the artist
Edition of 10 + 3 AP
Other sizes upon request
Santorini 1955. The Aegaion in Port below Fira
Gelatin Silver Print
431/8 x 421/8 inches
Signed and numbered by the artist
Edtition of 3 + 1AP
Other sizes upon request
All artworks © Robert McCabe courtesy Galerie Sit Down
Florian RUIZ
With The White Contamination series, Florian Ruiz (winner of the 2018 Sony Prize) captured the invisible pain of radiation in the snowy landscapes of the heights of Fukushima after the nuclear accident. The photographer measured the radioactive contamination with a Geiger counter, in becquerels (Bq), a unit that expresses the disintegration of the atom and the number of its mutations per second. By a process of staggered superimpression, Florian Ruiz hoped to catch the fleeting moments, the movements of climatic phenomena and the ever-shifting perceptions of nature, where radiation accumulates the most. A feeling of malaise and danger underlies these white spaces, inspired by the aesthetics of traditional Japanese prints.
Florian Ruiz’s photography is resolutely representative of atmospheres. For him, it’s a question of translating a subjective universe of impression: the image is present to translate the emotion, the feeling that a landscape gives us. Through this series, Florian Ruiz sees and shows landscapes resulting from a chaotic and unstable world, while underlining the permanence of beauty within them.
The White Contamination | 0,412 Bq
Pigment print on Japanese Mulberry Paper
291/8 x 62 inches
Artist’s Japanese official stamp on the recto of the print.
Edition of 3 + 2 AP
Other sizes upon request
The White Contamination | 0,417 Bq
Pigment print on Japanese Mulberry Paper
145/8 x 311/2 inches
Artist’s Japanese official stamp on the recto of the print.
Edition of 5 + 2 AP
Other sizes upon request
The White Contamination | 0,409 Bq
Pigment print on Japanese Mulberry Paper
145/8 x 311/2 inches
Artist’s Japanese official stamp on the recto of the print.
Edition of 5 + 2 AP
Other sizes upon request
The White Contamination | 0,381 Bq
Pigment print on Japanese Mulberry Paper
145/8 x 311/2 inches
Artist’s Japanese official stamp on the recto of the print.
Edition of 5 + 2 AP
Other sizes upon request
The White Contamination | 0,453 Bq
Pigment print on Japanese Mulberry Paper
291/8 x 62 inches
Artist’s Japanese official stamp on the recto of the print.
Edition of 3 + 2 AP
Other sizes upon request
All artworks © Florian Ruiz courtesy Galerie Sit Down