Photography
For sale:
Sizes and Pricing:
8 x 10 60.00
11 x 14 150.00
20 x 30 350.00
More sizes are available upon request: Daylightsun4@gmail.com
Luster, Glossy or Matte
Order by number on photograph
Contact: Daylightsun4@gmail.com
2021 Julia Margaret Cameron Award: Category "Women See Women"
2021 MIFA—The Moscow International Photo Awards 2021:
Silver in the category “Editorial-Political”, Bronze in “Fine Art Collage”
2018 MONOCHROME Awards: Honorable Mention in category “Portrait”
2016 MIFA - Honorable Mention
2010 Photography Forum Magazine— Finalist
Interview by Katka Konecna, Talent In Motion Magazine, New York
GABRIELA LANDA, SHAMAN OF IMAGES
Gabriela Landa was born in Czechoslovakia and grew up in Germany where she studied both anthropology (M.A.) and art. However, most of her life
she spent exploring other countries and cultures, and discovering the depth of various civilizations.
With her abstract photography, Gabriela captures a variety of genuine moments that embody a deeper symbolic statement about the surrounding world. She is searching for a common language to take
away boundaries between people of different cultures.
To get a better understanding of her work, I recently asked her the following questions.
Talent In Motion (TIM): Can you describe what you mean by “common language” in your work?
GL: The overlapping worlds in my images, as I experience them in real life, record the flux and immediacy of the exuberant lives in
cities as well as in different parts of the world. There is no preference for good or bad, no interesting or boring, no past, no future, no given definitions. There is only the moment of the
image, unrepeatable and free. The images become kaleidoscopes of colors and shapes with fragments of identifiable familiarity, as points of reference. My photographs are deeply personal, but at
the same time, I think, they become symbolic for the lives of city-people, travelers and people in remote places, who may never leave their home, but connect through dreams and thoughts.
TIM: Seams like you get inspired nearly by everything surrounding you. You have lived in New York City for several years, how is the energy affecting your work, and how do you use it?
GL: When I first moved here in 2001, the City felt monstrous to me. The large amount of information constantly attacking you together
with the experience of 9/11, left me vulnerable and passive at first. The camera was the only way how to understand and overcome a feeling of being only one little part within many seemingly
disconnected elements. What I found then, is that it is all these fragments in their fast movement, which might carry a uniting language, which is there to be discovered. So I started
experimenting with the technique of over-layering elements and framing them by the viewfinder.
TIM: How did you come to use the process of over-layering in your work?
GL: It started, like many good things in art, with an error. For one and only time I decided to have a closer look at celebrities and
went to photograph the red carpet at the “CBC at 75” anniversary. Since this event took place on 35th street, I encountered myself on one of my favorite streets in New York, for its reality.
Here, workers stream between their jobs and the shopping world into the subways and fast food restaurants, which I have come to photograph many times before, as I did on this day. Later,
photographing the celebrities, I accidentally used the same film and the result was astounding. Reality and illusion have clashed together, and created-to me, more of a real dimension. The
juxtaposition came together in this one very moment, and I realized that while working with such phenomena, I might find a new language that would express more clarity. I started to photograph
things that I would later consciously use to over-lay with another theme.
TIM: Can you pick an image that would describe this more in detail.
GL: I did a series on the Columbus Day Parade, mainly for showing the absurdity of putting young people into uniforms. To balance the subject of such violence, six month later, I over-layered them with Christmas themes, such as lights and gifts. The below presented image “Angel face” is an example of exploration of the busy illusionary commercial world of Time Square with the peaceful religious images from stain-glass church windows. In the final effect, the composition of all fragments from both images creates a new window symbolizing reality. Living in Guatemala and painting images of ruins of the Colonial buildings, I once came upon a stone window frame opened to the sky. And I asked myself, what I would put in the center of that window, to symbolize my life. I think these new photographs represent the answer.