Planet Plastic I, 2018
Photography : color edition, archival pigment print · 69.9 x 90.2 x 0.3 cm 27.5 x 35.5 x 0.1 inch
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Delivery to: United States , $ 250
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About the artwork
Type
Photography : numbered and limited to 6 copies
6 copies available
Condition
Artwork sold in perfect condition, not framed
Authenticity
Sold with certificate of Authenticity from the artist
Invoice from the gallery
Signature
Signed artwork
Technique & Support
Dimensions ( cm • inch )
69.9 x 90.2 x 0.3 cm 27.5 x 35.5 x 0.1 inch Height x Width x Depth
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Credentials
Vetted seller since 2019 • Top Seller
Description
This artwork presents a striking image in which a lone figure is positioned starkly against a dry, expansive landscape. The horizon stretches outward, dominated by sun-soaked prairie grass, which fades into a clear, azure sky. The figure, lying prone, is depicted with an evocative sense of vulnerability and introspection, their skin tone merging seamlessly with the earthy tones of their surroundings, creating a harmonious blend of human and nature. A distinctive touch is the cowboy hat worn by the figure, adding an intriguing element that suggests themes of freedom, exploration, or perhaps solitude. Nearby, a simple wooden sign stands planted in the ground, reading "Safari," which is a compelling juxtaposition against the open, barren field, prompting the viewer to question the nature of the "safari" itself—is it a literal journey, a metaphorical exploration, or a commentary on the blend of civilization and wilderness? In the foreground, a small assembly of ceramic animal figurines lies scattered on the ground, symbolizing perhaps a connection or disconnection from the natural world, or a playful nod to the title's adventurous implications. These details invite a deeper reflection on human interaction with the environment and the contrast between perception and reality. The composition is both bold and understated, utilizing the vastness of the landscape to emphasize the isolation and serenity of the scene, while the tactical placement of elements invites curiosity and interpretation. The paradoxical pairing of nudity with the suggestion of adventure evokes a powerful narrative open to personal interpretation, making this piece both captivating and thought-provoking.
1964, Uwe Ommer, a young 20-year-old photographer who recently arrived from Cologne, lives in a small room on Boulevard St-Marcel. Every weekend, he goes to the market on rue Mouffetard to photograph the inhabitants on the fly. These rare images are the testimony of a Paris that has now disappeared and that of one of its emblematic districts.
Presentation
Born in Bergisch-Gladbach, Germany, Uwe Ommer became fascinated with photography at a young age. Initially sparked by his interest in photographing birds, he received his first camera at age 14 and began experimenting with his limited equipment. By the time Ommer was 18, he had given up on birds, but was improving his skills as a photographer. He began working as an apprentice in a camera shop and soon picked up side projects for local papers, shooting everything from car accidents to weddings, when staff photographers were unavailable.
In 1962, Ommer was awarded the first Deutscher Jugend Photo Preis (German Youth Photo Prize) at Photokina 1962 for his photograph of children playing soccer. The following year, he left for Paris (for only one year to learn French, he insisted) and began working as an assistant to advertising photographer Jean Pierre Ronzel. While Ommer did perfect his French, he never did leave Paris.
In 1966 he opened his own photography studio, primarily shooting fashion and advertising photos for small women's magazines. Quickly gaining respect for his work in Paris, Ommer began showing in local galleries and eventually published his first book.
In 1995, Ommer drastically changed gears and decided to embark on a project unlike anything he had ever done before – a project unlike anything anyone had ever done before. As a personal challenge, he set out the following year to document all types of families on every continent at the turn of the millennium. With a Landrover, Rolleiflex camera, portable studio, one assistant, many maps, many guidebooks Ommer visited 130 countries in the following four years, interviewing and photographing over 1000 families. Taschen published the catalog titled “1000 Families" in 2000 when the photographs were first exhibited to the public in Cologne, Germany in September at Photokina 2000. Since then, the exhibition has toured the world and has received praise for the scope and beauty of the photographs, and their simple message of commonality.
In 2002, Uwe Ommer was awarded an Honorary Fellowship to the Royal Photographic Society for the impact of his lifetime of work.
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