A magical game of depth and perspective
For his unique photographic technique, Pep Ventosa has already won several international awards. In a single image, the Spanish photographer achieves an extraordinary fusion of optical depth and spectacular perspective. His selected works show the silhouette of a tree, captivating with its shimmering colours which resemble gentle brush strokes. Like the treetops, the background also seems fainter, the air swollen with mysterious movement.
Virtuoso overlay of countless individual images
Pep Ventosa surrounds the tree with his camera and creates, through the overlaying of countless individual images, a completely new and unfamiliar view. The way we observe is expanded and grows into a fantastic multi-layered space of memory and fantasy. The result is a dense narrative with a powerful aesthetic that follows the cyclical change of seasons with a distinctive repertoire of forms and colours.
Tree silhouettes as a fantastic spectacle of nature
The motif of the tree is a symbol of nature as a whole. Particularly because of their mythical age, trees are valued as great and awe-inspiring plants throughout the world’s cultures. Trees are also considered a symbol of life. Pep Ventosa transforms the picturesque silhouettes into a stunning spectacle. He characterizes them so expressively that they seem almost as complex as other living beings we encounter. His series ‘In the Round – Trees’, acts as an atmospheric discussion of iconic quality.
THE COLLECTIVE SNAPSHOT
Pep Ventosa's project "The Collective Snapshot" puts together hundreds of photographs into a picture sandwich immensely increasing the appetite for what we often see: landmarks like the Golden Gate Bridge vibrate full of energy; the Brandenburg Gate performs a tap dance; the Eiffel Tower pirouettes; and the Coliseum beats time in the historical Roman earth. Decoding the images is a delightful game; one's own memories become another level of Ventosa's meta-snapshots.
Driven by his creative élan, Pep Ventosa lures us to further famous landmarks around the world. Snapshots taken from tourists’ favored vantage points make up the foundation of his works. He creates images that exude familiarity but whose evanescence constitutes a new visual experience that has at its core the collective world of images.
The artist himself says: "What grows is an unique new narrative space that never actually happened, where the whole has traveled mysteriously further than what the camera documented. Part memory, part imagination. Not unlike the way we see."
The Spaniard, who moved from Barcelona to the San Francisco Bay Area, is a specialist in dismantling and joining together. He imitates and clarifies in a thorough, individual method of the process of seeing. Curators of the New York Guggenheim Museum and other institutions of similar rank have praised his well-traveled (but anything other than touristic) sight, leading to the inclusion of his work in a number of prestigious collections, along the west coast of the United States in particular.
Born in 1957 in Vilafranca del Penedès (Barcelona), Spain, Ventosa currently lives near San Francisco, California.
A lifelong passion for photography began with his first camera at the age of 10. He went on to attend the Escola d’Arts i Oficis Artístics de l’Alt Penedès in Vilafranca to learn the mechanics of the darkroom. While the intervening years were spent pursuing musical aspirations – becoming an accomplished drummer with several recorded albums – the digital revolution in photography brought Ventosa strongly back to the visual medium. He taught himself the possibilities of the new digital darkroom, focusing on an exploration of the photographic image and the new forms it can take, and quickly made a name as an artist adept at deconstructing and reconstructing images into a new visual experience. His creative work processes are now used as a teaching guide for photography students.
|2010||Jury Nomination, Photography Masters Cup, International Color Awards (from The Collective Snapshot series)|
|First Prize, Photography, Artspan, San Francisco, California|
|2009||People's Choice Award, 3rd Place Winner, Prix de la Photographie, Paris (from the Carousel, In the Round series)|
|Honorable Mention, London International Creative Competition (LICC), (from the Trees, In the Round series)|
|2007||Finalist, Photolucida’s Critical Mass|
|Finalist, Pilsner Urquell International Photography Awards - Cityscapes|
|Finalist, Pilsner Urquell International Photography Awards – Landscapes|
|2006||First Prize, National Juried Photography Competition, Coastal Arts League Gallery & Museum, Half Moon Bay, California|
|Top 50 Photographers selection, Positive Focus' Body of Work|
|2005||Finalist, 18° and 19° Caminos de Hierro Concurso Fotográfico (2005 & 2004)|
|2004||3rd Prize, XVII Firart Penedès, Vilafranca del Penedès, Spain|
|Best of Photography 2004 Annual, Photographers Forum Magazine|
|Honorable Mention, 2004 National Juried Photography Competition, Coastal Arts League Gallery & Museum, Half Moon Bay, California|
|2011||Arc Gallery, San Francisco, California|
|2010||Photographers Gallery, Los Angeles, California|
|Kelly Street Gallery, Half Moon Bay, California|
|Palma Dotze Galeria d'Art, Vilafranca del Penedès, Spain|
|2007||Musee de l'Elysee, Lausanne, Switzerland|
|ARCO International Contemporary Art Fair, with Palma Dotze Galeria d'Art, Madrid, Spain (2007 & 2005)|
|DFOTO, International Contemporary Photography and Video-Art Fair, with Palma Dotze Galeria d'Art, San Sebastian, Spain (2007 & 2005)|
|2006||Space 743 Gallery, San Francisco, California|
|St. Louis Artists’ Guild, Clayton, Missouri. Jury selected by Bonne Stutski, Senior Editor of the Smithsonian Magazine|
|Sebastopol Center for the Arts, Sebastopol, California. Jury selected by Laura Richard Janku, editor-in-chief of Artweek|
|Coastal Arts League Gallery & Museum, Half Moon Bay, California (2006 & 2004)|
|Firart Penedès, Vilafranca del Penedès, Spain (2006 & 2004)|
|2005||ARTissima, The International Fair of Contemporary Art, with Palma Dotze Galeria d'Art, Torino, Italy|
|Palma Dotze Galeria d'Art, Vilafranca del Penedès, Spain|
|Viridian Artists XVI National Exhibition, New York City. Jury selected by the late curator of 20th Century Art at New York’s Solomon R. Guggenheim Museum, Robert Rosenblum|
|Crocker Art Museum, Crocker-Kingsley Exhibition, Sacramento, California. Jury selected by pop artist Mel Ramos. Ventosa’s work remains in the permanent collection of the Crocker Art Museum.|
|Caminos de Hierro Exhibition, 16 cities in Spain (2005 & 2004). Jury selected by the Royal Photographic Society of Madrid.|
|2004||Museum of Contemporary Art, Center for Fine Art Photography, Ft. Collins, Colorado|
|Kathryn Schultz Gallery, Cambridge Art Association National Prize Show, Harvard Square, Massachusetts. Jury selected by Robert Fitzpatrick, Pritzker Director and CEO of the Museum of Contemporary Art, Chicago|
|Sala dels Trinitaris, Catalunya's biennial "Primavera Fotográfica", Vilafranca del Penedès, Spain|
|Marin Society of Artists National Exhibition, Ross, California. Jury selected by Robert Shaw, Professor of Art, University of California, Berkeley|
|American 24/7 Exhibitions - Traveling exhibition to Manhattan’s Bryant Park, Grand Central Station and International Center of Photography, the United Nations main lobby, Washington DC's Union Station, Corcoran Gallery and Smithsonian Institutes, San Francisco's California Academy of Sciences, and the Denver Museum of Natural History|
AZART Photographie Magazine, March, 2009
10x15, Madrid, 2009
Esquire Magazine, September, 2008
Orange Life Magazine, Canada, 2008
Digital Collage and Painting, Professor Susan Ruddick Bloom, Focal Press, 2006
American 24/7, Rick Smolan and David Elliot Cohen, DK Publishing, 2003
7x7 Magazine, San Francisco, California, 2004
Best of Photography Annual, Photographer’s Forum Magazine, 2004
San Francisco Chronicle, California, 10/2004 & 1/2005
El Punt, Catalunya, Spain, 3/2004
el 3 de vuit, Penedès, Spain, 10/2003 & 3/2004
Half Moon Bay Review, California, 2007
La Fura, Vilafranca, Spain, 10/2003 & 3/2004