GALLERY | DEADLINE: THURSDAY, JULY 15, 2021  | EACH MONTH, THE MOST VALUED PROJECT WILL RECEIVE AN INDIVIDUAL EXHIBITION IN OUR GALLERY.

BioAntarctica and the sublime by Santiago Vanegas

The photographic series entitled “Antarctica” by Santiago Vanegas attests to the moving experience the artist experienced during a journey across that frozen continent that is being subjected to a radical transformation.

“This experience has inspired images of absolutes.”

-Santiago Vanegas-

The photographic series entitled “Antarctica” by Santiago Vanegas attests to the moving experience the artist experienced during a journey across that frozen continent that is being subjected to a radical transformation.

Contrasting experiences coexisted during the trip. Just as Vanegas felt the immensity and strength of nature, as compared to the frailty of human beings, he also witnessed the fragility of the ecological equilibrium in the face of the arrogant behavior of mankind. According to the artist “Death and beauty” were the motivations behind his trip.

Antarctica and the sublime | Santiago Vanegas
Antarctica and the sublime | Santiago Vanegas

Vanegas’ photographs reveal a profound admiration for the natural landscape: enormous bodies of water, sometimes in a liquid state and other times completely frozen, expand under the light of a clear and changing sky. In most of his shots he avoids the presence of man; through his lens pure nature prevails. This wonder at the magnificence of the natural world has ties to the landscape genre spanning the history of art since the Sixteenth Century, particularly with the romantic landscape that evokes the conscience of modern man, the experience of modernity, and a feeling of the sublime.

Antarctica and the sublime | Santiago Vanegas
Antarctica and the sublime | Santiago Vanegas

In their passage through life, the romantics also faced “death and beauty,” an experience that gave name to a profound and disturbing feeling: the sublime. Distancing themselves from the serene beauty of the Classical world they introduced a new aesthetic that incorporated the excessive, the obscure, perhaps even terror, into art. It was an aesthetic that found an echo in the manifestations of nature as in the night, the immensity of the sea or the mountains, the ferocity of animals, the menacing and unrepresentable. The philosophy of Burke and later Kant, during the century of the Romantics, established a category that went beyond the notion of “beauty,” of the pleasant, the proportioned and the pleasurable. The sublime in Romanticism acknowledges an internal shudder that is associated with contemplation and reflection; with reason, with the vital, but also with the finite, death, and pain. In the sublime pleasure and pain coexist.

A philosopher of our time, Jean-François Lyotard, finds that the sublime is precisely the type of sensitivity that characterizes the avant-garde.2 According to this philosopher, “For the last century, the arts have not had the beautiful as their main concern, but something to do with the sublime.” The sublime is for him, along the lines of Kant, “a disaster suffered by the imagination,” an impairment in our ability to shape experiences; a powerful feeling that affects the spirit and is tied to moral and ethical issues, to the unrepresentable.

The representation of the Classical landscape is associated with beauty, with meticulous observation—sometimes reverent, other times amazed—in which, according to Lyotard, “an agreement occurs between nature and the spirit.” In the case of Romanticism, the landscape painting acquires diverse connotations. Among other things, it responds to the experience of a new condition of life: modernity. Thought and modern ways of life begin to transform the world and to create a rift, a separation between man and nature. The painted landscape also responds to a state of mind experienced by man to his finite condition, to a profound reflection on mortality and the imminence of death; despite his longings for eternity. Thus the landscape is cohabited by pleasure and pain, death and beauty: the sublime.

Antarctica and the sublime | Santiago Vanegas
Antarctica and the sublime | Santiago Vanegas

It is precisely this feeling that links Santiago Vanegas’ experience with the romantics. Getting to Antarctica involved a three day journey in a small boat that while crossing the terrible Drake Passage “was tossed by waves over twenty feet high.” A shocking experience, we might say terrifying, in which man and nature measured their strength. The image of the boat buffeted by an immense sea brings to mind the work of Turner, that artist who sought extreme experiences shutting himself up in darkness for long periods, to then forcefully open a window so the light would brutally flood the space and blind him. Or, on other occasions, he had himself tied to the mast of a ship in order to feel completely defenseless against the power of the rough sea. These were experiences that led to those landscapes where the light, turned into color, wipes across the world’s physiognomy giving away to atmospheric masses that proclaim abstraction: rough oceans, voracious fires and tumultuous skies like the many Santiago Vanegas recorded during his trip to Antarctica.

“Antarctica is a place where the miniscule and the monumental are mutually epic,” affirms Santiago Vanegas. This is perhaps the reason that his images sometimes show the vastness of the landscape, while focusing other times on details like the skeletal remains, the ripples created by a body of water, or the small detritus from gigantic frozen rocks. In the story that he has brought from his trip to Antarctica, where man must take care of his movements to avoid breaking its fragile ecology, we understand the value of the miniscule, that the tiny is in accord with the whole. When we look at a boat or a flag in the middle of a vast landscape, we understand the smallness of man as we do in “The Monk by the Sea” by Caspar David Friedrich. And in that experience, of the miniscule in contrast with the enormous, there is a certain pleasure, like the one when we experience, in the face of nature’s force, our infinite smallness and fragility, our mortality.

Antarctica and the sublime | Santiago Vanegas
Antarctica and the sublime | Santiago Vanegas

Vanegas also affirms that being in Antarctica “was like being on another planet but at the same time very close to Earth.” With these words he alludes to an experience that is totally alien to urban life, completely removed from the actions of mankind. Being “very close to Earth” is to be immersed in nature, in the natural world, in the most primal sense. This reminds me of the paintings of Friedrich, an artist who felt that human reason, in its drive to dominate, turned nature into an object of study, and established a distance with it that is both unbridgeable and ominous. In Friedrich’s Wanderer above the Sea of

Fog, a man—a modern subject, with his back to the viewer ad wearing urban clothing—contemplates the vastness of the landscape; contemplation is the only link that remains with nature. Friedrich’s soul was torn by the divide, he found it insurmountable and this separation became the subject of his landscapes, which he created with s religious fervor. Santiago Vanegas appears to have managed to bridge the gap between man and nature, intensely experiencing the natural condition of the planet, one of its few unspoiled regions, however threatened.

Many differences separate the century of the Romantics from our present. Men of the Nineteenth Century barely glimpsed the consequences of the new relationship established by the modern subject’s will-to-know regarding nature. The Romantics, torn—unlike us— by the divide, fully trusted in the strength and infinity of the natural world. Friedrich lamented this condition. Turner’s powerful landscapes celebrated the power and strength of the raging sea, as well as the powerful transformations of light that seem to devour the world. A man like Constable was enraptured by aqueous cumulus clouds, clouds floating in the sky changing shades of color and acquiring different forms.

Antarctica and the sublime | Santiago Vanegas
Antarctica and the sublime | Santiago Vanegas

In this century, when technology has reduced distances taking communications to unsuspected, almost exasperating, levels, and capital overrides all other values, we are certain of the finiteness of natural species. With global warming we are now experiencing the consequences of this direction which, in the Antarctic, as Santiago Vanegas points out, has melted huge blocks of ice that are discharged into the ocean. As result, the lives of the species that inhabit this aquatic continent have been endangered. Disaster and death are part of their future.

The beautiful images of Antarctica preserve the magnificence of this vast natural landscape condemned to extinction. Just as light lends color to these vast and absolutely white surfaces, Santiago Vanegas, with careful digital color management, intensifies his experience of the sky, the mounds of ice, and of the sometimes dark, sometimes almost white waters. Santiago

Vanegas says that the landscape is like a blank canvas that gradually changes color with the change of light, and that he, as painters do with their pigments and brushes, as a photographer of today who uses digital media, alters images through a slow and complex process that has separated photography from the snapshot and from a certain “truth.” On the other hand, this approach has taken him closer to painting, to that slow and laborious time in where shades are darkened or lightened and colors become warmer or cooler, depending on the artist’s feeling and intention.

VanegasAntarctica_07

For these reasons—of conscience, feeling, and laboriousness—these images created with the cutting edge technology of our time, are closer to the romantic landscape, to the drama that is part of it, and to the paintings of those artists who, passionate about nature, came to lament the terrible rift— created through the perverse misuse of knowledge and information—that modernity established with the natural world.

Vanegas’ photographs attempt “to make sublime situations perceptible (…) like an absolute (…) in magnitude or power.”4 One of the most compelling photographs in the series happens to be the first photograph he took upon seeing Antarctica. It is an image with no discernible forms, only vast grey and white areas that extend horizontally. At the top, a dark surface, a sky that appears to have been painted with Rothko’s translucent layers of paint, covers almost the entire image, as also happens in Friedrich’s Monk by the Sea. At the bottom there is a faint white stripe, a misty line like those created by Rothko; under it a darker one: the ocean. This powerful image has the character of an overture, capturing the first moment of the encounter between the photographer and the continent of frozen water, after a journey that put his life at risk.

In this first image that the experience that “caused a disaster” in the photographer’s imagination appears before our eyes. Like others, this picture brings us closer to that feeling that deeply effects the spirit and that makes the absolute, the unrepresentable, resonate. [Text: Marta Rodríguez]

Antarctica and the sublime | Santiago Vanegas
Antarctica and the sublime | Santiago Vanegas

About Santiago Vanegas

Santiago brings an interesting set of aesthetics to his work. He has navigated in and out of two cultures throughout his life. Born in Philadelphia and then moving back and forth between the United States and his native country of Colombia, eventually staying in Colombia for the next 14 years. Inspired by his mother, a painter, Surrealist art, Latin American magic realism, music, and the world of cinema, Santiago creates work that looks at the dark and the light in life. “I see the world in a way that even to me is a bit strange, but very real. The world is a strange, complicated, and fascinating place. I’m constantly drawing metaphors of how I see the world and its future. My images are about the relationship between reality and perception.”

His work has been featured in Surface Magazine, WIRED, Flaunt Magazine, TALLULAH Magazine, HEDGE Magazine UK, Featherstitch Avenue, Picture Magazine, GRAPHIC Magazine UK, Hartsfield Jackson Atlanta International Airport, Lenscratch. Santiago is also principal photographer at featherstitchavenue.com. Santiago is currently based in Atlanta, GA. [Official Website]

Antarctica and the sublime | Santiago Vanegas
Antarctica and the sublime | Santiago Vanegas

Antarctica and the sublime | Santiago Vanegas

Antarctica and the sublime | Santiago Vanegas
Antarctica and the sublime | Santiago Vanegas

Antarctica and the sublime | Santiago Vanegas
Antarctica and the sublime | Santiago Vanegas

Antarctica and the sublime | Santiago Vanegas
Antarctica and the sublime | Santiago Vanegas

VanegasAntarctica_13 VanegasAntarctica_14 VanegasAntarctica_15 VanegasAntarctica_16 VanegasAntarctica_17 VanegasAntarctica_18 VanegasAntarctica_19 VanegasAntarctica_20 VanegasAntarctica_21 VanegasAntarctica_22 VanegasAntarctica_23 VanegasAntarctica_24

VanegasAntarctica_25
Antarctica and the sublime | Santiago Vanessa

 

Antarctica and the sublime | Santiago Vanegas
Antarctica and the sublime | Santiago Vanegas

Antarctica and the sublime | Santiago Vanegas
Antarctica and the sublime | Santiago Vanegas

Antarctica and the sublime | Santiago Vanegas
Antarctica and the sublime | Santiago Vanegas

https://www.dodho.com/wp-content/uploads/2020/12/BAnImage.jpg

ImageRights provides intelligent image search and copyright enforcement services to photo agencies and professional photographers worldwide.

300x250

With ON1 Photo RAW you get the professional photo editing tools every photographer needs to get professional results while keeping your workflow.

https://www.dodho.com/wp-content/uploads/2020/11/Z.jpg

Simply Stunning Landscapes – Would you like to capture stunning landscapes every time you shoot… without having to travel far from home?

https://www.dodho.com/wp-content/uploads/2020/03/Landscape-and-Nature-dPS-Photography-Course-300x250-1.jpg

Landscape & nature photography is one of the most challenging genres and disciplines to learn, and the costs of getting it wrong can be disappointing

RELATED STORIES
Flowers and photography; Spring Collection

DodhersFlowers and photography; Spring Collection

Every spring when the blossoms emerge, I feel the need to go out and take pictures. As a colour photographer, the blooms can make a very good accent in an image.
Transcending by Isabel Curdes

ConceptEuropeTranscending by Isabel Curdes

It is a story about life and death, about the beauty of our ephemeral existence and the acceptance that one day we will just be a memory…
Urban landscapes; Footnote by Barbara van Schaik

CityEuropeUrban landscapes; Footnote by Barbara van Schaik

The Netherlands is the third most populous country in Europe (after Monaco and Vatican City). There is no escaping the literal and figurative footprint of mankind in the Dutch landscape.
The relationship of subjects with food; FoodPeople by Sara Cencetti

EuropeShotThe relationship of subjects with food; FoodPeople by Sara Cencetti

My photo session intends, therefore, represent six different identities through the analysis of the relationship of subjects with food.
https://www.dodho.com/wp-content/uploads/2021/04/instagram.jpg
Sascha Laue Director of Galerie 94

DnaEuropeSascha Laue Director of Galerie 94

The Galerie 94 has started in May 2015 after the end of 2014 offered me big a 220m2. I had long again want to provide a platform and to organize exhibitions.
Everyday life; The street by Petros Kotzabasis

B&WCityEuropeEveryday life; The street by Petros Kotzabasis

My field of reference is “the street”; I neither seek extraordinary events, nor do I travel around in quest of a subject to photograph. I have been photographing the “riches” of everyday life on a daily basis.
TRENDING STORIES
Indonesia ; One Day At A Time by Grace Ho Pui Wan

AsiaB&WStoryIndonesia ; One Day At A Time by Grace Ho Pui Wan

Indonesia ; Global poverty is a serious issue. According to the United Nations Development Programme, nearly half of the world’s population, more than 3 billion people, live on less than $2.50 a day.
The human soul by Dominic Rouse

ConceptEuropeThe human soul by Dominic Rouse

Dominic Rouse was born in England in 1959. His career began in photojournalism in 1977 and has progressed through various stages into the world of fine art.
Andalucía by Achilleas Chiras

CityEuropeAndalucía by Achilleas Chiras

These images were shot in Andalucía, that constitutes the biggest part of southern Spain. I narrate a story with color, leaded by the light and the shadows. A story of observation and search on the roads.
Mother Nature; Goddess Almighty by Alice zilberberg

AmericaConceptMother Nature; Goddess Almighty by Alice zilberberg

Given various names in different cultures, the nature goddess is always worshipped for her association with fertility, fecundity, and agricultural bounty.
Fishermen of Guanabara Bay by Andrew Christian Johnson

AmericaStoryFishermen of Guanabara Bay by Andrew Christian Johnson

It is estimated that between 5000 and 18,000 registered/unregistered artisanal fishermen operate in the bay. Fishermen have borne the economic cost of its environmental degradation more than any other group.
Traditional healers ; Sangoma by Frank Trimbos

EuropeStoryTraditional healers ; Sangoma by Frank Trimbos

Traditional healers are, even in today’s modern times, still highly respected and frequently consulted members of South African communities. Instead of referring to Western, mainstream health and healing practices, they practice traditional African medicine.
Astoria, Oregon: The Future was Yesterday by Jay Slupesky

AmericaStoryAstoria, Oregon: The Future was Yesterday by Jay Slupesky

I first became interested in the city of Astoria, Oregon after reading an article in the Seattle Times whose title called Astoria “the city where gritty meets pretty.” The gist of the article was that Astoria revels in its history and goes to great lengths to preserve it, and that visitors are welcome to come and explore it.
Carny  by William Bullard

AmericaStoryCarny by William Bullard

For the past few years, I have been photographing the carneys and showmen who work the games or “joints” at the local county fairs in Upstate New York.
Marco Musillo – Ascending Lights, Traversing Altitudes: Mountains

B&WBioEuropeMarco Musillo – Ascending Lights, Traversing Altitudes: Mountains

Mountains explores natural elevations not as a conquest of extreme sites, but as a silent trajectory taking the viewer to discover textures and slow movements, but also pauses, illusory moments in which clouds, trees, and rocks do not move.
FEATURED STORIES
Under the sign of the rat; Roger the Rat by Roger Ballen

AmericaB&WConceptFeaturedUnder the sign of the rat; Roger the Rat by Roger Ballen

Surreal, refined, disturbing: Roger Ballen has made a name for himself with his special eye for what is usually considered minor or outside, yet is nevertheless profound and touching.
Intimate portraits of animals; Behind Glass by Anne Berry

B&WBioEuropeFeaturedIntimate portraits of animals; Behind Glass by Anne Berry

Behind Glass is a collection of photographs made in monkey houses of small zoos throughout Europe. Anne Berry is recognized for her ability to create lyrical, intimate portraits of animals.
Fictional narrative photography; Birth Undisturbed by Natalie Lennard

ConceptEuropeFeaturedFictional narrative photography; Birth Undisturbed by Natalie Lennard

Birth Undisturbed is a fictional narrative photography series by Natalie Lennard, that brings scenes of natural childbirth into cinematic fine-art tableaux.
Japanese Aquariums by George Nobechi

AsiaFeaturedStoryJapanese Aquariums by George Nobechi

Japanese Aquariums is a journey into some of my oldest, most treasured childhood memories. Whenever I visited my grandparents in the small, northern Japanese city of Otaru, my grandfather, a high school teacher and an enormous influence in my life, would take me to the aquarium.
Greenland; Stories from the Sea by Camille Michel

EuropeFeaturedStoryGreenland; Stories from the Sea by Camille Michel

Greenland became politically independent from Denmark in 1979 and is slowly getting on the path to economic independency. The ‘ice country’ is currently facing the consequences of climate change.
Intimate diary; Jazz Notes by Giuseppe Cardoni

B&WEuropeFeaturedShotIntimate diary; Jazz Notes by Giuseppe Cardoni

It is a declaration of love by Giuseppe Cardoni, but also by an Italian region, Umbria, which has always hosted the most important jazz festivals and where the author took most of his photographs.
Guatemala; Until the corn Grows Back by Lys Arango

EuropeFeaturedStoryGuatemala; Until the corn Grows Back by Lys Arango

Until the corn Grows Back; Lys Arango’s project was selected and published in our print edition 16. Criminal violence in Central America was something that happened very far away and that explained, according to the media, the gigantic caravans of migrants that from 2017 began to travel thousands of kilometres to reach the United States
Greatest jockeys; Fortza Paris by Marco Cheli

EuropeFeaturedStoryGreatest jockeys; Fortza Paris by Marco Cheli

Fortza Paris; Marco Cheli’s project was selected and published in our print edition 16. Over the years, until today there are many young Sardinians, specifically from Barbagia, who leave their island with the dream of becoming a jockey of the Palio di Siena.
Africa; River Blindness by Marcus Trappaud Bjørn

B&WEuropeFeaturedShotAfrica; River Blindness by Marcus Trappaud Bjørn

The project River blindness focuses on a neglected tropical disease, which is the second most common cause of infectious blindness worldwide.
https://www.dodho.com/wp-content/uploads/2021/06/getty-images.png
https://www.dodho.com/wp-content/uploads/2021/06/black-eye.png
https://www.dodho.com/wp-content/uploads/2021/06/Edelman-Gallery.png
https://www.dodho.com/wp-content/uploads/2021/06/Medium.png
https://www.dodho.com/wp-content/uploads/2021/06/Opiom.png
https://www.dodho.com/wp-content/uploads/2021/06/Filter-Photo.png
https://www.dodho.com/wp-content/uploads/2021/06/head-on.png
https://www.dodho.com/wp-content/uploads/2021/06/Photo-independent.png
https://www.dodho.com/wp-content/uploads/2021/06/lagos-photo.png
https://www.dodho.com/wp-content/uploads/2021/06/gtb.png
https://www.dodho.com/wp-content/uploads/2021/06/IPA.png
https://www.dodho.com/wp-content/uploads/2021/06/in-focus.png
https://www.dodho.com/wp-content/uploads/2021/06/image-rights.png
https://www.dodho.com/wp-content/uploads/2021/06/riga.png
https://www.dodho.com/wp-content/uploads/2021/06/BGD.png
https://www.dodho.com/wp-content/uploads/2021/06/ICP.png
https://www.dodho.com/wp-content/uploads/2021/06/Mifa.png
https://www.dodho.com/wp-content/uploads/2021/06/miami.png
https://www.dodho.com/wp-content/uploads/2021/06/viewbug.png
https://www.dodho.com/wp-content/uploads/2021/06/OFF.png
https://www.dodho.com/wp-content/uploads/2021/06/KLPA.png
https://www.dodho.com/wp-content/uploads/2021/06/rotterdam.png
https://www.dodho.com/wp-content/uploads/2021/06/Photo-Nola.png
https://www.dodho.com/wp-content/uploads/2021/06/clampart.png
https://www.dodho.com/wp-content/uploads/2021/06/dripbook.png
OTHER STORIES
X
stay in touch
Join our mailing list and we'll keep you up to date with all the latest stories, opportunities, calls and more.
We use Sendinblue as our marketing platform. By Clicking below to submit this form, you acknowledge that the information you provided will be transferred to Sendinblue for processing in accordance with their terms of use
We’d love to
Thank you for subscribing!
Submission
Dodho Magazine accepts submissions from emerging and professional photographers from around the world.
Their projects can be published among the best photographers and be viewed by the best professionals in the industry and thousands of photography enthusiasts. Dodho magazine reserves the right to accept or reject any submitted project. Due to the large number of presentations received daily and the need to treat them with the greatest respect and the time necessary for a correct interpretation our average response time is around 5/10 business days in the case of being accepted.
- Between 10/30 images of your best images, in case your project contains a greater number of images which are part of the same indivisible body of work will also be accepted. You must send the images in jpg format to 1200px and 72dpi and quality 9. (No borders or watermarks)
- A short biography along with your photograph. (It must be written in the third person)
- Title and full text of the project with a minimum length of 300 words. (Texts with lesser number of words will not be accepted)
This is the information you need to start preparing your project for its presentation
To send it, you must compress the folder in .ZIP format and use our Wetransfer channel specially dedicated to the reception of works. Links or projects in PDF format will not be accepted. All presentations are carefully reviewed based on their content and final quality of the project or portfolio. If your work is selected for publication in the online version, it will be communicated to you via email and subsequently it will be published.
Issue #14 | September 2020
Current Issue
Vicky Martin
Ryotaro Horiuchi
Susanne Mildeelberg
Diego Bardone
Nicky Hamilton
Alain Schroeder
Printed on 80# matte paper 22x28cm | 100 Pages
Showroom
September 7 to October 31, 2020
Julia Fullerton-Batten
LOOKING OUT FROM WITHIN
Get in touch
How can we help? Got an idea or something you'd like share? Please use the adjacent form, or contact contact@dodho.com
Thank You. We will contact you as soon as possible.
Dodho Magazine is pleased to announce the new call for the photographers selection from all over the world that will be presented in an exceptional edition.
Deadline: Monday, November 30, 2020
Photo by ©Ryotaro Horiuchi | Japan | Issue#14
Dodho Magazine is pleased to announce the new call for the photographers selection from all over the world that will be presented in an exceptional edition.
Deadline: Monday, November 30, 2020
Photo by ©Ryotaro Horiuchi | Japan | Issue#14
CALL
FOR ENTRIES
Dodho Magazine is pleased to announce the new call for the photographers selection from all over the world that will be presented in an exceptional edition.
Are you ready?
Deadline: Monday, November 30, 2020
Contact
How can we help? Got an idea or something you'd like share? Please use the adjacent form, or contact contact@dodho.com
Thank You. We will contact you as soon as possible.
Submission
Dodho Magazine accepts submissions from emerging and professional photographers from around the world.
Their projects can be published among the best photographers and be viewed by the best professionals in the industry and thousands of photography enthusiasts. Dodho magazine reserves the right to accept or reject any submitted project. Due to the large number of presentations received daily and the need to treat them with the greatest respect and the time necessary for a correct interpretation our average response time is around 5/10 business days in the case of being accepted. This is the information you need to start preparing your project for its presentation.
To send it, you must compress the folder in .ZIP format and use our Wetransfer channel specially dedicated to the reception of works. Links or projects in PDF format will not be accepted. All presentations are carefully reviewed based on their content and final quality of the project or portfolio. If your work is selected for publication in the online version, it will be communicated to you via email and subsequently it will be published.
NEW!
FOLLOW US.
Subscribe now and get a free access to a curated list of resources.
Feel free to contact.
2017 (C) All rights reserved.
ghfd