Yearly Archives: 2012

Untitled (Child)

Posted on

2008

Signed and numbered, verso

Archival pigment print

25 x 25 inches
(Edition of 10)
$1600.00

12 x 12 inches
(Edition of 10)
$1200.00

Please note that prices increase as editions sell.

Untitled (Trees)

Posted on

2010

Signed and numbered, verso

Archival pigment print

25 x 25 inches
(Edition of 10)
$1600.00

12 x 12 inches
(Edition of 10)
$1200.00

Please note that prices increase as editions sell.

Untitled (Dolls)

Posted on

2006

Signed and numbered, verso

Archival pigment print

25 x 25 inches
(Edition of 10)
$1600.00

12 x 12 inches
(Edition of 10)
$1200.00

Please note that prices increase as editions sell.

Untitled (Log)

Posted on

2007

Signed and numbered, verso

Archival pigment print

25 x 25 inches
(Edition of 10)
$1600.00

12 x 12 inches
(Edition of 10)
$1200.00

Please note that prices increase as editions sell.

Evžen Sobek

Posted on

Evžen Sobek Resume

Evžen Sobek was born in the city of Brno in 1967. Sobek attended the University of Technology in Brno and trained as a technical draughtsman before transferring to the Institute of Creative Photography of Silesian University at Opava. Currently working as a freelance photographer and a photography instructor, the focus of Sobek’s work has been documentary imagery. He garnered early acclaim for his series depicting the life of Premonstratensian monks in Zeliv (a village in the Czech Republic), and another focusing on the day-to-day life of Romani people living in his hometown. His series “Life in Blue” was awarded an Honorable Mention by the 2010 Lens Culture International Exposure Awards. Sobek’s work is represented in numerous private and public collections, including the Museum of Fine Arts, Houston; the School of Visual Arts, Osaka; and the Museum of Applied Arts, Prague. He is founder of the Brno Photography School and the Fotoframe competition.

Film Noir

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“Film Noir” revisits the themes of the classic black-and-white films of the 40s and 50s, but with the lush, saturated colors for which Bill Armstrong is known. The solitary figures contemplating the unknown reference the ethical and philosophical dilemmas laid out in those stories. Armstrong’s mysterious images remain unresolved, however, hinting at the increased uncertainties of the contemporary viewpoint.

Like the other portfolios in his “Infinity” series, the photographs are made from appropriated images taken from a variety of sources—advertising, stock photographs, landscape painting—which are then collaged and rephotographed out of focus as Armstrong subverts the photographic process, setting his lens at infinity (normally used for distance) and then shooting close up.