After a selection phase we have found the ten winners of our SUMMER CALL!
We are proud of the great participation to our call and we thank everyone for the application and interest in PHROOM. It’s a pleasure for us to be able to see so many different projects from all over the world.
We have selected these projects among the many submission received and we are glad to have found these interesting works that represent the contemporaneity through images. Our call has the purpose to find Artists to showcase their work on our platform and thus increase their visibility.
Our congratulations goes to:
Clayton Bruce Lyon
“I don’t like to chatter about the meaning of my work. We diminish the worth of a picture as soon as we try to verbalize it, because something is always missing. An inner voice, the feeling of emptiness pulsating to express itself, has lead me to take photos of my everyday life, the rest is a secret. I mostly shoot digital, it’s all about captures from my daily routine and stuff from my journeys that constitute a kind of diary.”
Elena Aya Bundurakis
Elena Aya Bundurakis was born in the island of Crete and is currently based between Athens and Antwerp, where she is a MA student at the Royal Academy of Fine Arts Antwerp.
Bundurakis main interest lies in the anatomy of Nature (primal / modern nature), and self-analysis through delusion. Extracting fragments of her own self and the bodies that surround her, she layers the pure with the artificial and the thirst for something truly crisp with loss and boredom, creating clues. At the end, she aims that these clues combined can form a full sensation, like entering into a blob.
website: Elena Aya Bundurakis
“These images are from my series titled ‘Its 11:00am and I’m still in my dressing gown’. This project focuses on the family dynamics in my house and interprets my view on the family aura in my household, looking at the changes that have occurred over time. Lead by my curiosity, I reveal the rise in a strong female presence in the house following the separation of my parents and the repercussions it’s had on myself. It’s interesting, living in a house that was built by my father, has ultimately ended up being a female dominant house. Pastel colours, floral prints and a good room for my Mother’s special ornaments, all represent the over arching strength of the female influence. Family photographs hang on the white walls above me, featuring my father and a family, smiling, complete and full of warmth, they are reminiscence of the past. And through this project I begin to accept the family dynamics and disconnect that has established over time, instead fearing for what lies ahead outside of these four walls.”
“Many poems, songs, and conversations are about having a sense of belonging, or not belonging. I usually felt alien to this concept since I had never felt a sense of belonging – and this didn’t really matter to me. Recently, I realized that not belonging, and not caring to belong, allowed me a false sense of freedom. After exploring my fears, and the trauma behind it, I suddenly awoke in Los Angeles. I wanted to make a symbolic gesture and decided to shoot film on Lorena Street in East LA. The result is a series of photographs that explore hope, intimacy, and how I found the right place to find myself. These photographs are about being awake but being able to maintain a dreamy mindset. They were taken on the day of the solar eclipse (August 21, 2017) as a way of capturing and marking a new beginning aligned with the cosmos.”
Tianqi Song is a Fine Art photographer currently living and working in New York, United States.
Raul Guillermo was born in Lima, Peru 27 years ago. He started his career in International Business. On 2016 he decided to follow his passion and start studying photography in Paris. Nowadays, he loves to work on his long-term projects such as his ‘plage isolée’ series. He likes observing his surroundings while he’s living in Paris. He takes his camera every day he can. He tries to travel as much as possible to discover new worlds and find inspiration for new projects.
“Nowadays, my work is oriented towards the simplicity and the pureness of things. I think that a good photographer has to create great impact with not so much. I always keep that in mind when I’m shooting. During ‘Plage Isolée’ I was just traveling around France and by coincidence or something else (I don’t want to call it destiny), I felt the attraction by the ocean; contemplating my past, I find this desire to be around this vast body. In this series, the idea is to see what objects and traces people have left behind or are using in their daily life. The intention is to feel their presence even when they are not around. The question I ask myself is ‘Who’s around me or us?’. It’s like a hide and seek game where I’m just an observer of my surroundings.”
Stefania Orfanidou, born in 1989, is an architect and a photographer currently living and working in Athens, Greece. She has studied contemporary photography at Stereosis School of Photography in Thessaloniki, Greece, and has attended various workshops and seminars with renowned photographers. Since 2014 she has focused on personal projects regarding the perception of intimacy, the state of human absence and loneliness. Between 2015 and 2016 she documented the post-seismic situation in the city of L’Aquila in Italy. Currently, she has been researching the concept of the “Inert Substance”, about the suspended condition that is generated by the interaction between human and physical intervention. She has been published by various magazines and webzines and recently she has been featured in Athens Photo Festival
“The unpleasant state that drug addicts experience when they suddenly stop taking a drug; a way of treating drug addicts that makes them experience this state.”
source: Oxford Advanced Learner’s Dictionary
“Silence. The steep naked mountains mesmerize me. I stay still. My thoughts get paralyzed. Frozen images from the past cross my mind. Everything seems like a well-orchestrated theater in an irrational show that never ends. I feel uncomfortable out there. I am hiding under a mask, shivering in sheer pain. My skin is dry, ready to smash into pieces. The darkness becomes my refuge, the place of oblivion. I watch the world
through a distance as if it was a fish tank a colorful place made of a different substance than me. I try to escape. I run away. An invisible cloak surrounds me. Beneath it, an eerie luminous place dazzles me. I am drifting away.”
Vanessa Venable is a Fine Art photographer based in North Carolina. Vanessa is a student at the University of North Carolina at Charlotte Graduating December 2017 with a Bachelors of Fine Arts. Her style ranges from alternative process, to documentary imagery. Her current works investigate communities and relationships, in association to place.
Vanessa Has interned and worked with the Mint Museum of Art in both their Uptown and Randolph locations teaching creative summer camps and helping to facilitate their NexGen teen outreach program in its ground breaking year. Vanessa has formerly served as the Coordinator for the UNC Charlotte Art Gallery and worked to develop their gallery space over the corse of three years. She has previously interned with Levine Children’s Hospital instructing art classes to the patients, and also Maximo Nivel where she taught english to as risk communities in Cusco, Peru.
Class C examines the poignant lives of men on the road committed to driving commercial vehicles. The portrait series of these individuals eludes to a larger narrative of lower middle class workers who’s daily tasks play a larger function in our daily lives. By momentarily interrupting their routine I have created a glimpse into their life on the road, and have attempted to reveal how their careers transcend from a traditional 9-5 job to a way of living. From a stationary perspective, in the common rest hubs of truck stops I have captured these individual’s migratory routine through environmental portraiture. By creating photographs of this group of people in their transitory environment, I hope to emphasis how the routine of their lives is not static or permanently affixed to the place in which their portraits were made.