sol langp h o t o g r a p h s

www.sollang.com

old world traveller36” x 24” giclée printedition of 15

ghosts of nature series

barn gainst a cloudy sky I33” x 22” giclée printedition of 15

the gathering storm I33” x 22” giclée printedition of 15

corn field and meadow33” x 22” giclée printedition of 15

the gathering storm II33” x 22” giclée printedition of 15

ghosts of nature II33” x 22” giclée printedition of 15

These photographs are about my relationship with the Earth, whereby I amrepresenting humanity. But in my work as a photographer I can only speakfor myself. I am celebrating the majesty and grandeur of nature and howwe fit into it. In the photographs showing distant vast landscapes, I showevidence of humans through cars and electric towers all dwarfed by theawesome storm clouds and mountains. This beauty of nature is also evidentin the more intimate views of the farms and country roads, again, showingour relationship with Earth and man’s harnessing of it for his own use.

Mine is a positive, optimistic point of view, because the scenes are beautiful and that implies that the beauty, even beyond or in spite of man’stampering will always be there.

I use contrasting points of view. The macrocosm and microcosm. From verydistant vistas, to closer images of rural scenes, down to close-up views ofearth, moss and clovers, tree trunks, bark and root.

sol langp h o t o g r a p h s

www.sollang.com

ghosts of nature series

ghosts of nature IV33” x 22” giclée printedition of 15

country road with cloudy sky33” x 22” giclée printedition of 15

horses, stable & corral before the storm33” x 22” giclée printedition of 15

ghosts of nature I33” x 22” giclée printedition of 15

lush meadow33” x 22” giclée printedition of 15

I strip them all of colour to present a raw image that allows the viewer torespond emotionally to shape, texture and contrast. I use techniques such asselective focus, lens vignette and rather large print size to draw the viewerin. The soft focus on the edge, gives a dream like effect and a “vintagephotography” feeling from a time before we knew we were destroying ourenvironment with harmful technology.

The works also evoke a quiet and calm sense of serenity. Although there isevidence of man’s existence in the photographs through the farms, buildingsand towers, there are no actual humans in the images, so the lone viewerbecomes the only perceived living participant in the scene.

Visual drama created by massive dark clouds has always intrigued me. It isone of the ways for me to understand how small we humans really are inthis universe.

sol langp h o t o g r a p h s

www.sollang.com

phantom ravages series

phantom ravages I30” x 22.5” giclée printedition of 15

phantom ravages II30” x 22.5” giclée printedition of 15

phantom ravages III30” x 22.5” giclée printedition of 15

phantom ravages IV30” x 22.5” giclée printedition of 15

phantom ravages V30” x 22.5” giclée printedition of 15

sol langp h o t o g r a p h s

www.sollang.com

enduring cold ferous series

enduring cold ferous I30” x 20” giclée printedition of 15

enduring cold ferous II30” x 20” giclée printedition of 15

enduring cold ferous III30” x 20” giclée printedition of 15

enduring cold ferous IV30” x 20” giclée printedition of 15

enduring cold ferous V30” x 20” giclée printedition of 15

sol langp h o t o g r a p h s

www.sollang.com

vermont weathering cowshed series

vermont weathering cowshed I30” x 20” giclée printedition of 15

vermont weathering cowshed II30” x 20” giclée printedition of 15

vermont weathering cowshed III30” x 20” giclée printedition of 15

vermont weathering cowshed IV30” x 20” giclée printedition of 15

vermont weathering cowshed V30” x 20” giclée printedition of 15

sol langp h o t o g r a p h s

www.sollang.com

desolate address series

desolate address I30” x 20” giclée printedition of 15

desolate address II30” x 20” giclée printedition of 15

desolate address III30” x 20” giclée printedition of 15

desolate address IV30” x 20” giclée printedition of 15

desolate address V30” x 20” giclée printedition of 15

sol langp h o t o g r a p h s

www.sollang.com

musical duets series

musical duets I30” x 22.5” giclée printedition of 15

musical duets II30” x 22.5” giclée printedition of 15

musical duets III30” x 22.5” giclée printedition of 15

musical duets IV30” x 22.5” giclée printedition of 15

musical duets V30” x 22.5” giclée printedition of 15

sol langp h o t o g r a p h s

www.sollang.com

unessential castaways series

unessential castaways I30” x 20” giclée printedition of 15

unessential castaways II30” x 20” giclée printedition of 15

unessential castaways III30” x 20” giclée printedition of 15

unessential castaways IV30” x 20” giclée printedition of 15

unessential castaways V30” x 20” giclée printedition of 15

sol langp h o t o g r a p h s

www.sollang.com

old world traveller series

old world traveller I30” x 22.5” giclée printedition of 15

old world traveller II30” x 22.5” giclée printedition of 15

old world traveller III30” x 22.5” giclée printedition of 15

old world traveller IV30” x 22.5” giclée printedition of 15

old world traveller V30” x 22.5” giclée printedition of 15

sol langp h o t o g r a p h s

www.sollang.com

guaranteed milk building before demolition series

guaranteed milk building before demolition I30” x 20” giclée printedition of 15

guaranteed milk building before demolition II30” x 20” giclée printedition of 15

guaranteed milk building before demolition III30” x 20” giclée printedition of 15

guaranteed milk building before demolition IV30” x 20” giclée printedition of 15

guaranteed milk building before demolition V30” x 20” giclée printedition of 15

sol langp h o t o g r a p h s

www.sollang.com

luminescence elucidation series

luminescence elucidation I30” x 22.5” giclée printedition of 15

luminescence elucidation II30” x 22.5” giclée printedition of 15

luminescence elucidation III30” x 22.5” giclée printedition of 15

luminescence elucidation IV30” x 22.5” giclée printedition of 15

luminescence elucidation V30” x 22.5” giclée printedition of 15

sol langp h o t o g r a p h s

www.sollang.com

masonry and steel exclusion series

masonry and steel exclusion I36” x 24” giclée printedition of 15

masonry and steel exclusion II36” x 24” giclée printedition of 15

masonry and steel exclusion III36” x 24” giclée printedition of 15

masonry and steel exclusion IV36” x 24” giclée printedition of 15

masonry and steel exclusion V36” x 24” giclée printedition of 15

sol langp h o t o g r a p h s

www.sollang.com

sanctuary series

sanctuary I30” x 22.5” giclée printedition of 15

sanctuary II30” x 22.5” giclée printedition of 15

sanctuary III30” x 22.5” giclée printedition of 15

sanctuary IV30” x 22.5” giclée printedition of 15

sanctuary V30” x 22.5” giclée printedition of 15

sol langp h o t o g r a p h s

www.sollang.com

composites series

composite, adirondacks IVpaper size 60” x 27.5” giclée printedition of 15

composite, adirondacks IIpaper size 60” x 40.5” giclée printedition of 15

composite, adirondacks IIIpaper size 60” x 25.5” giclée printedition of 15

composite, adirondacks Ipaper size 60” x 34.5” giclée printedition of 15

composite, dunham IIpaper size 60” x 36” giclée printedition of 15

sol langp h o t o g r a p h s

www.sollang.com

My P.O.V.

I have found that my photographic art, although being very diverse, tends to containmany images of destruction and decay of man-made structures and objects. Whetherdestroyed by deliberate demolition, accidental disaster or just the weathering awaydue to the elements and time, I am intrigued by the compositional and emotionalexpressions that these subjects yield.

In the following three series of photographs exhibited at Galerie Constant, Montreal,Canada, 2002: Old World Traveller series, Phantom Ravages series and VermontWeathering Cowshed series, I give the viewer a sense of the abstract found in thesesubjects while allowing full recognition of what it is they are looking at. I achieve thisby combining extreme close-ups with relative wide views. The subjects in these photo-graphs are completely recognizable, still there is a very strong abstract expressionisticelement in the details of each that makes for bold compositions with dramatic results.

Although I shoot in colour, I often plan my images to be printed in black-and-white. Mychoice between black-and-white or colour is dictated by the subject and the effect Ifeel will best convey the images’ dramatic message. My definition of drama, in thiscontext, is that which will provoke an emotional reaction in the viewer. These imagescan ignite memories from the past. Perhaps fears from childhood or memories of sometragic disaster. They may be either first hand experiences or experiences as witnessedthrough the media. They can also be secret angst coming from one’s gut unbeknownstas to its origin.

Also intriguing to me is how with new technology (digital photography) I am able topreserve images of what is old and soon to be discarded. These objects and placeswill disappear from existence and therefore from sight forever if not for photography.The documentary aspect of my photographs is truly preserving the present that is onthe verge of becoming history and eventually just a memory.

>

old world traveller IV30” x 22.5” giclée printedition of 15

phantom ravages I30” x 22.5” giclée printedition of 15

vermont weathering cowshed IV30” x 22.5” giclée printedition of 15

sol langp h o t o g r a p h s

www.sollang.com

Personal Background

I have been photographing for my enjoyment as well as professionally since 1968. In my profession, among other things, I docommercial photography for advertising and graphic design. Most of that work used to be done in a studio with artificial lightusing a large format 4” x 5” camera and transparency colour film. Often negative film and paper print was required for the pur-poses of photo retouching which I used to do with an air-brush as well as other retouching tools. Later on, these skills, along witha well-developed understanding of light, shape and volume, became indispensable in my garnering of expertise in digital imag-ing, a craft I practice today as part of a total graphic design service which I offer through my firm, Crayon Design &Communication.

>

sanctuary VI30” x 22.5” giclée printedition of 15

sol langp h o t o g r a p h s

www.sollang.com

In 2000, it became necessary for me to acquire a digital camera for my business. The dynamic and personal advantages ofdigital photography became evident to me almost immediately. My already well-developed skills in digital imaging married per-fectly with this new innovation of a traditional medium.

As it is with other visual art forms, photography for me, is the medium by which I convey to the world the imagery of what I seeand my unique way of seeing. I try to express my vision of what is aesthetically pleasing and especially enjoy discovering it inthe least likely places. The contradiction of aesthetic beauty framed in a photograph taken in a visually “objectionable” environ-ment is what provokes the viewer to respond in a profound way that goes beyond the apparent. Usually it is an intellectualresponse with an emotional sprinkle, although often in the reverse order.

My influences come from the combined effects of the medium as well as the subject. Most subjects will yield far more than justone single photograph, so it is really, in a sense, a series of photographs that I combine to communicate the totality of my artisticexpression. This can be considered documentary or photo-essay in style.

The production technique of the print is completely enmeshed in the creative process. While capturing the images in the camera,I am very much aware and guided by the process that is to follow. The creative process continues, as the images are digitallyprepared for printing.

Over time I have gotten used to using commercial labs to print my photographs under my direction, however I like the hands-onapproach of controlling and fine-tuning each image using special software and a high-resolution photo ink-jet printer. Once final-ized for image quality, the photographs can be printed by a service provider using archival quality materials for longevity andexhibition.

In my view, the total experience of the art of photography is, in fact, what provides the joy in photography. There are two dis-tinct creative processes at work. The first is the aesthetic decision-making in finding, choosing and framing the subject at theinstant of releasing the shutter. The second is the combined art and craft of printing the image and preparing it for viewing. Theresult of these two activities forms a sum that is far greater than its parts. Besides being a medium that has a decorative visualvalue when displayed in a given environment, photography compels the viewer to respond emotionally on several levels - somebeing aesthetic, ethical, editorial, social, and historical. It is an art that provokes and involves.

masonry and wood exclusions I30” x 20” giclée printedition of 15

sol langp h o t o g r a p h s

www.sollang.com

Limited Edition Art Book Project

In 2002, I took steps towards the fulfillment of a ten-year dream - to produce a limited edition art book of my photographs. Twelve pages containing sixty photographs interspersed with pages of text and commentary.

limited edition art book

sol langp h o t o g r a p h s

www.sollang.com

Photography Exhibitions

> M!WAA @ New Art Center, Jan-Feb 2006, New York City, group show.> Ghosts Of Nature, December 2005, Galerie Image Photographie, Sutton, Québec, solo show.> Intimate Rural Landscapes, December 2004, Galerie Image Photographie, Sutton, Québec, solo show.> Morceaux Choisis, Novembre 2004, Galerie De Bouche à Oreille, Montréal, group show.> 3 Artitsts, October 2004, Galerie De Bouche à Oreille, Montréal, group show.> Photography, March 2004, Espace Deux, Saidye Bronfman Centre for the Arts, Montréal, group show.> 8 Versions, January 2004, Art Sutton, Sutton, Eastern Townships, Québec, group show.> 8 Versions, February 2003, Galerie Espace 306, Montréal, group show.> Artists of the gallery, December 2002, Galerie Constant, Montréal, group show.> Photo x 4, November 2002, Galerie Constant, Montréal, group show with Dani Hausmann, Jacques Lamoureux,

Daniel Rabinovich.

Collections

> The Avmor Collection, Permanent Exhibition, Montréal, Québec.> Private Collections

Representation

> Galerie Sandra Goldie, 1360 Greene Ave, Montreal, Canada.> M!WAA @ New Art Center, New York City.> Galerie Image Photographie, Sutton, Quebec.

unessential castaways VI30” x 20” giclée printedition of 15

sol langp h o t o g r a p h s

www.sollang.com

Professional Synopsis

Co-founder and President of Crayon Design & Communication Inc. (established1980), a consulting firm in marketing, design and corporate communication in partnership with artist Mary Bogdan.

Education

Bachelor of Fine Arts, majoring in Graphic Design, Concordia University, Montreal.

Professional achievements, recognitions and memberships

Curated annual exhibit for Creative Source in the Atrium of Maison Alcan, 1984.Curated photography exhibit - Ray Chen “Jamaica” at the Nikon Gallery in Rockefeller Plaza, New York City, 1984.Delegate for the Societé des Graphistes du Québec to ICOGRADA (International Congress of Graphic Design Associations) inNice, France, 1984.On the board of directors of La Societé des Graphistes du Québec, 1985.Member of AIGA (American Institute of Graphic Arts).Member of 8 Versions, Fine art photography group.Member of Arts Sutton.

Publications and featured articles

> The Avmor Collection, La Collection Avmor, A collection of art works dating 1965-2004 (two pieces).> Eye on The Arts, by Paula Shulak, The Community News, New Castle County, Delaware, “In Love With The Arts

And Each Other”, 2004.> La voix de l’est, “Les plus vieux bâtiments de Brome-Missisquoi...”, by Patricia Sauzède-Bilodeau, 2004.> Brome County News, “...Exhibit at Arts Sutton”, by Wendy Denman, 01/14/04.> Le Guide, “8 Versions: deuxième exposition de photographie à Sutton”, 01/17/04.> Le Guide, “Huit photographes exposent à la galerie Arts Sutton”, 01/10/04. (article)> The Canadian Jewish News, lifestyles, arts scene: “Sol Lang haunts photo show with ruins”, by Heather Solomon,

2/13/03. (featured article) > Radio-Canada.ca/culture, guide culturel, arts visuel: 8 Versions, “espace de liberté”, par Claude Couillard,

2/12/03. (Web)> Mirror, Art with week, “Group of Eight” by Christine Redfern, February 2003 (article).

> Design Journal, Number 32, Oct/Nov, 1990 - Design in Canada, Crayon Design & Communication Inc. (article)> Corporate Source, 1989 - Positive Impressions: The Power of Print (featured chapter)> Le Publicitaire, Février 1989 - Dossier packaging, Crayon Design vous met l’eau la bouche (article)> Applied Arts Quarterly, Winter 1988 - Design, Montrealés Hot Shops (article) > G le magazine de la communication graphique, Mai/Juin 1988 - Crayon Design, Originalité et rigueur (article)> Magazine Contrast, 1987- Porte-folio, Crayon Design (article)

old world traveller series II #III 36” x 24” giclée printedition of 15

sol langp h o t o g r a p h s

www.sollang.com

Professional awards

> 1983 • Award of excellence, 3 awards of merit, Graphisme Québec. • Honour Award for excellence in graphic design, Neenah Paper, Kimberly-Clark Corporation.

> 1984 • Award of excellence, Graphisme Québec • Award of merit CPBMA (Canadian Paper Box Manufacturing Association).

> 1985 • Certificate of merit award PIA (Printing Industries of America). • Double Silver Award, PAC (Packaging Association of Canada.

> 1986 • 5 Certificats d’excellences, Graphism Québec, • Certificate of distinction, Creativity Award, Art Direction, New York. • Honour Award, Neenah Paper, Kimberly-Clark Corporation.

> 1987 • Certificat d’excellence, Graphisme Québec.> 1988 • Certificate of distinction, Creativity Award, Art Direction, New York.> 1989 • 2 Certificats d’excellences, Concour Litho. • Certificate of merit award PIA (Printing Industries of America).> 1990 • 2 Certificates of merit awards PIA (Printing Industries of America). • Certificate of distinction, Creativity Award,

Art Direction, New York.> 1995 • 2 Applied Arts Magazine awards.> 1996 • 2 Certificates of distinction, Creativity Awards, Art Direction, New York. > 1996/97 • 2 Applied Arts Magazine awards. > 1997 • Certificate of distinction, Creativity Award, Art Direction, New York. • Certificate of distinction,

Creativity Award, Art Direction, New York.> 1998 • 2 Applied Arts Magazine awards. • Communication Arts Award of Excellence. • Silver Award of Excellence,

CAPIC> 1999 • Prix d’excellence, Grafika.> 2001 • Grand prix, Grafika. • Prix d’excellence, Grafika.

wood and steel exclusions III36” x 24” giclée printedition of 15

Media Presence

Did you ever notice that often whenone partner is devoted to the arts,his or her spouse is also involved?The saying is that opposites attract,but many couples have mutualinterests in the cultural scene. SolLang and Mary Bogdan are one ofthose couples who show a passionfor the arts.

Lang and Bogdan are unassumingQuebecerswhose homeis enchantedby the myri-ad of workson display –their own.They jointlyrun a designfirm, buteach is anartist in

his/her own right - Lang, a percep-tive photographer of the usual andmundane and Bogdan, a creativepainter and sculptor whose special-ty is assemblage.

Both artists use found objects astheir muse, but what they makefrom what you and I would proba-bly consider junk is astounding. Hegoes to places like an abandonedfactory and takes photos where he"...likes to deal in contrasts, toenhance my images by revealingthe same object closeup, at a medi-um distance and far away. I alwaystake photos in series and use thedesign elements inherent in theirvery nature such as tire treads, birdfeathers or chain links." He is amaster at making the ordinarymajestically beautiful.

And Bogdan is equally adept atroaming the streets picking throughtrash and then creating from thatremarkably beautiful works of art.

"I work fast, and painting and mak-ing assemblage was something Itook up just a few years ago," shesaid. "I had been accumulatingbizarre stuff from auctions foreverand now I suddenly knew why. I donot think about my art - I just do itand I am as if in a trance when Iwork. I can be physically attractedto an object I find, but if I pick itup and it does not resonate for me,I discard it." Her work clearlyreminds us of the work of RobertRauschenberg, Tapies or Clavé.

If you would like to see the work ofthis artist couple for yourself go tosollang.com or marybogdan.com.

An exhibition of the works by SolLang and Mary Bogdan, and Anne-Marie Vacherot starts on Oct 6thuntil the 30th at the Galerie DeBouche à Oreille, Le Belgo, 372Ste-Catherine west, #318.Vernissage will be held WednesdayOct 6th, 5-9pm.

EYE ON THE ARTS

****Exerpt from The Community News, New Castle County, Delaware, a weekly CulturalArts column called EYE ON THE ARTS written by Paula S Shulak.

In Love With the Arts andEach Other

Assemblage by Mary Bogdan

Photograph by Sol Lang

sol langp h o t o g r a p h s

www.sollang.com

Contact Information

Sol Lang301 Dufferin RoadMontréal, Québec H3X 2Y6www.sollang.com sol@sollang.com514-483-4298

unessential castaways XI30” x 22.5” giclée printedition of 15