Gallery Ehva
daring and beautiful art

. . . . . . .

Dear Friends,

Sorry, we're closed now.

I could not keep gallery open for more then one reason, but the biggest one was me. I did not feel I was strong (and smart) to contine. I needed rest: do nothing time, be closer to Earth, Sea, Sun, Sky, my cat Bikini and my dog Hana.

Do I miss it? Yes! I miss our dinners, painting Easter eggs, my freedom to do with our space whatever I wanted to do, I miss people, soup and bread openings... I miss our little "community".

Do I miss ART? Not now. I am fine having my hands dirty, working in my garden.

What I do now? Hmmm, little art, lots of cooking...

Who I am now? Rebel, definitely!

So, be well my friends and thank you for letting me love you. I know we'll see each other, sonner or later.

-- Yours, always, Ewa

. . . . . . .

You can always reach me by phone, e-mail or mail.

Ewa Nogiec 508 487-0011
ewa@iamprovincetown.com

P.O. Box 675, North Truro, MA 02652

 


Art Is Good

Here are my friends:

 

Donna Dodson, Gallery Ehva

Donna Dodson

Bill Liebeskind

Bill Liebeskind

Gallery Ehva: Richard E. Smith

Richard E. Smith

Tracey Anderson
Midge Battelle
Bill Barrell
Rachel Brown
Arthur Cohen
Didier Corallo
David Ellis
Miriam Freidin
Joanna Gabler
Fred Garbers
Wendelin Glatzel
Irén Handschuh
Myrna Harrison

. . . . . .

 

Provincetown Artist Registry

. . . . . . . . . .

I am Provincetown

I am Provincetown...

David Ellis

filmmaker, photographer

David Ellis, "Clone"

 

David Ellis

VIP (Very Important Poodle), original poloroid from Joycam, 4.25 x 2.5

 

David Ellis

Self Portrait, 2011

 

DAVID ELLIS

"Find your voice, tell your story" - Howard Zinn

My story is one of a constant love of discovery. Love of the process as much or more than the results. The work is about the process of inquiry, experimentation discovery, not only of the subject, but of its journey through change.

I have always had a fascination and love for photography and film. As a child, I played early TV photographer " Bob Cummings" using an old camera with no film in it. Finding angles, creating shots, moving in and out with my subjects just like a professional photographer, feeling the excitement of getting the shot!  How fantastic it would be if that old camera had had film in it and I could have those" imaginary" shots today! My family purchased a Polaroid Land Camera around 1962 or 63 and I was immediately in love with its magically appearing images and immediacy, shooting family gatherings, my hotrod '40 Ford and school friends. I made my first experimental 8mm films in 1963 or 64 while racing a '50 Ford around the back of my house, crouching low to get the feel of a drag race as it sped past me! I did some more experimental 8mm films in 1966 and some stop animation experiments in the early 1970's. At that point I was fascinated with capturing "ordinary" subjects such as a bulldozer pushing piles of trash at the dump or long takes of stormy ocean waves washing in and back over beach rocks repeatedly. Throughout the 60's and 70's I pursued painting and printmaking, continued photography, although it was still not my "public" art persona as were the paintings and prints. I began working with VHS video, shooting documentaries in Austin,Texas for public art projects and around 1980 created my first VHS video stop action animation for the Southwest Alternate Media Project. During the 80's and early 90's I continued working in sculpture and later ceramics. My deep love for photography grew as I shot more and more regularly and yearned to work in film. In the mid 1990's, I became fascinated with anonymous snapshot "vernacular" photography that I found in junkshops and began incorporating them into monotypes. After taking a pinhole photography workshop with Marian Roth at the Fine Arts Work Center in Provincetown, MA in 2000, I became fully involved and committed to pinhole photography and, for that matter, any form of alternative photographic capture. My interest soon spread to Polaroid (a reconnection with my 60's infatuation). The natural progression lead me to disposable cameras, which I promptly converted to pinholes, then on to one time use video cameras, cheap Wal-Mart digital/web-cams and eventually vintage "120" box cameras. With the computer/electronic revolution now in full swing and video affordable and available, I had come full circle back to my first loves; experimental photography and film making.

My work soon evolved from tin can pinhole cameras to building my own hybrid "Poladroid" cameras by combining deconstructed 1960's Polaroid pack cameras with altered vintage box cameras. The little glass eyes of the box cameras cast images onto Polaroid film creating wonderful dreamy soft focus photographs. This experimentation soon lead to creating pinhole adapted video cameras and little anonymous photographs were my first experimental subjects for video shorts using flashlights for lighting. As my computer skills grew, so did my curiosity about exploring digital "deconstruction" and exploiting the flaws, artifacts and glitches rather than avoiding them as was the popular recommendation.

Primitive, low-tech/low-resolution capture combined with computer generated effects and processing piqued my interest. I could now be fully involved with the interests I loved; anonymous vernacular photography, low-tech image capture and moving images all coupled with my passion for exploration, "detective work" and the excitement of experimentation and discovery.

Current works are a journey into the transformation and digital deconstruction of either still photographs, low-resolution videos or segments of them. A photograph becomes animation through layer upon layer of processing and effects until it has completely transformed into a totally different subject with new colors, intent and meaning. With a love for " detective work", my work is often a deep forensic examination of the contents of a single photographic image or a moving sequence capturing a segment in time.

What DO we really see? We see more when we go back in and examine what we have viewed as a whole but NOT processed into ALL of its components or content. Sometimes, a single
Window with closed curtains or perhaps a lit table or floor lamp when all else is dark. When zoomed in on, it becomes far more interesting than the entire scene--itself, a great shot as a whole to begin with.

How does content influence meaning? The simple change in pitch and speed of a voice can transform it from goofy or electronic sounding to deep, slow and menacing. The change in color to blue, sepia or red can totally alter our emotional response to what we are viewing from
"distant memory" to a charged sexy or aggressive red image. When all along the image itself is unchanged. My question became--"at what point does a photograph cease to be a photograph?" Does a remaining single element of a photo, a pixel, a line, still define it as a photograph?

The process is like creating poetry--the writer-- " needs to make choices" in order to create a good story or poem or a flowing and engaging novel. Making choices takes courage. Creative courage when it is so easy, over and over again, to feel comfortable and stay put at a certain creative point. Sometimes, too much "staying put" can become a predictable repetoire that has stifled growth.

It is the excitement of discovery that, for me, is the "pay-off" in my creative process.
Pushing the boundaries and making choicesis what creates great work. Pushing that 'APPLY"
Button in editing can be a very scary moment and sometimes, with a "CAN NOT UNDO"
That follows. So, a "single moment" or "essence" becomes an essence in continuum.

So much to see.

 

DIRECTOR'S  STATEMENT

Of course, it is my belief that the work has its own voice and speaks to each viewer individually,
which always makes it difficult for me to articulate its purpose or mine.

With that in mind, I will attempt to explain here, in a condensed version, video projects
that I have been working on over the last 7 years or so. With my background being experimental alternative capture in still photography that includes all sorts of pinhole cameras and containers, Polaroid, vintage box cameras shooting 120 film, and a variety of hybrid cameras that I have constructed myself, the shooting of pinhole videos, low-resolution video capture, and exploring computer digital deconstruction was a natural progression. After starting out with the cheapest off-the-shelf  "kids digital web-cam"(at $18 dollars) that I could find in Wal-Mart, I soon graduated to CVS throwaway "flip style" video cameras that I adapted to shoot pinhole video. Later lens-cap pinhole MiniDV videos followed. The very first were shot, lit using only a flashlight in one hand and the camera in the other (Voyeur, 2003 completed in 2010) utilizing vintage anonymous snapshots as subjects to zoom in on and pan as extreme close-ups as if they were actors and sets (Glamour Girl, 2007). Soon, I began shooting short-short clips of ordinary subjects that would have been great just as still shots but with the added dimension of time and ambient sounds, they felt transformed and more fully captured the complete experience. I began calling these short works "flash-films", selections of short-short video vignettes as a nod to the literary genre "flash-fiction".

In these experimental low-resolution videos and pinhole videos, I explore digital deconstruction, the gradual breaking down of the image into its basic pixelized elements. Extensive layers of editing and effects are then applied, while allowing chance, flaws, digital artifacts and glitches to further enhance these works. The videos sometimes have a dreamy, poetic "noire" feeling like that of early 20th century avant-garde films, and sometimes they are merely short glimpses into the essence of a moment. In the most recent series of videos, with the addition of altered ambient sound, cyclical movement, extensive editing and layering of effects and the hypnotic, edgy sounds of new electronic music by one of Germany's leading new electronic music composers, Berlin artist Hanne Adam, (adamned-age.com), the imagery enters into an entirely new realm, at times even morphing into animation. For me, these videos are fascinating short cyber explorations into the exciting and uncharted fringes of new 21st century photography and filmmaking. While created with much different technology and tools, they are at heart still embodied with the same spirit as those flickering, grainy black and white experimental films we now look back at, that were so passionately created in the beginning of the 20th century. For me the excitement is in the exploration, the "detective work" and new discoveries. I suppose it could be called process, but it is so much more;

In the end, it is the journey and not the destination that really matters.

 

Artist collection of work: www.vimeo.com/davidellisvideos

www.flickr.com/photos/davidellisphotos

 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .




Art Is Good

Here are my friends:

Gallery Ehva, Nathalie Ferrier

Nathalie Ferrier

Alicia Henry

Alicia Henry

Daniel Dejean, Gallery Ehva

Daniel Dejean

Gallery Ehva, Janice Redman

Janice Redman

Rob Westerberg

Rob Westerberg

Barbara Cohen, Gallery Ehva

Barbara Cohen

Ken Horii, Gallery Ehva

Ken Horii

. . . . . .
Jenny Humphreys
René Lamadrid
Bill Liebeskind
Susan Lyman
Diane Messinger
Andy Moerlein
Henry Moore
Ewa Nogiec
David Paulson
Cyndi Wish

. . . . . .

Schedule 2016
Schedule 2015
Schedule 2014
Schedule 2013
Schedule 2012
Schedule 2011
Schedule 2010
Schedule 2009

. . . . . . .