Foliolink Client Reviews

Chris first picked up a camera to document life and work in isolated areas of Canada's North. Places where immense, stark landscapes were highlighted by changing 24 hour light. Attempting to understand his place amidst the imposing natural forces soon drove his motivation to photograph. He became focused on the interactions between himself, others, animals, plants, climate, and land. Chris remains inspired by the organic forces in photography as he works on providing imagery for stock, wedding, and commercial clients. He currently lives in Saskatoon, Saskatchewan, Canada in one of the sunniest places in the country.

I studied design in Paris and have worked as an interior, furniture and graphics designer. I started painting rather recently and have devoted a great deal of time to it over the past 2 years. My work is mostly oil on canvases or other surfaces. I would characterize my art as abstract landscapes. I am starting to explore other media such as layering painted and inked plexiglass, using the cast shadows to create 3d effects.

The one thing that I have try to do as a commercial adverting photographer, is to present and promote myself first and foremost as an artist. I want the art director hiring me to get a sense that I am more interested in the process of creating a remarkable image than collecting a paycheck. I have little interest in the image associated with being a photographer, my passion lies in the image that can put in a frame and hung on the wall.

Regina Allen is a nationally exhibiting artist who has shown in cities throughout the US including Los Angeles, Chicago, New York, Nashville, and Austin. Her work has been included in New American Paintings. Regina creates inspiring paintings and collages that use the patterns and colors of landscape, focusing on places where there is tension between people and their environment. Her art sensuously captures the enduring beauty of the land, expressing tentative hopefulness along with her concerns about global climate change.

Sebastian Rich has been a photographer /cameraman in hard news, documentary and current affairs all his working life. He joined Independent Television News (UK) in 1980 and developed a gift for being in the right place at the right time on some of the world's biggest breaking news stories; he gained a reputation not just as an uncompromising cameraman in the theatre of war but also as an insightful and highly talented photographer. Jon Snow the highly regarded British television journalist, describes Sebastian in the forward of his first book 'People I Have Shot' as ("Probably the finest news cameraman and photographer of his time. His camera work is amongst the most sensitive I have ever witnessed" Jon Snow, Channel 4 News)

Jeremy Mayer disassembles typewriters and then reassembles them into full-scale human figures. He does not solder, weld, or glue these assemblages together- the process is entirely cold assembly. He thinks of the typewriter as ....a product of nature- it was designed by minds immersed in nature around them, and mimicked the curves, geometry, and physical processes abounding in nature. Though it is cold metal created by human hands, the typewriter is just as much a natural material as stone or wood......He lives and works in Tahoe City, CA

Classic composition, alternative techniques and flawless execution are the hallmarks of Joe Treleven's images of people and their environments. Each image exudes a timeless beauty, whether it is of a CEO, a coal yard worker, or a Mongolian nomad. Treleven shoots wherever his design, advertising or corporate clients need him: in the studio or on location, nationally or internationally. Committed to excellence, Treleven shoots the best format for the assignment, delivers top-notch final files, and offers responsive, resourceful production services. Along the way, he has earned recognition from Communication Arts magazine, Polaroid Corporation, AIGA, AR100 and others.

I am concerned about how my work participates in the cultures I am a part of and what meaning and use it has relative to these cultures. Because of the innate lack of boundaries in art and the art-making process, I believe that art can play an active role outside of the gallery as a direct participant in culture. I see art as not only passively waiting to be perceived, but also interacting, surprising, and appearing in the public domain outside of the structures designed to contain it. My work, and the research I do around it, is constantly trying to make these connections between power and the struggles for it; between definition and the lack thereof; between the boundaries of ideals and anarchy; between chaos and order. Therefore, I find myself working as much outside of structures as within them; outside a particular medium, as within it; manifesting as installation work, but also as video, graphs and group activities. When I am asked what kind of art I make, I answer that my work is conceptually driven, manifesting in whatever medium most effectively gets the idea across to the audience experiencing the work. Artist portrait by Jon Haynes.

Photographer, Michael Bradley is based in Auckland, New Zealand and specialises in Commercial, Editorial and Sports photography. With over 15 years of experience Michael is meeting the photographic needs of a diverse list of clients, both on assignment and with stock images. Michael works for a wide range of corporate clients and sporting organisations including Netball New Zealand, ANZ Bank Ltd, NZI Insurance, New World, Skycity, The Warehouse Ltd. Michael is primarily a location photographer whose strength is working closely with his clients to achieve the results they require.

As a photographer, my interest is in implication rather declaration. I am drawn to images that do not present a single-point narrative. The most exciting moments are those when I see something whose meaning and narrative are unresolved, an image that can disquiet and please with its beauty; an image that can conceal as well as reveal. I try to ask questions in a voice that does not shout, and the relationship between myself and an image is much like the conversation of two people who do not know each other well engaging late at night in a kind of sotto voce exchange in which the participants are required to lean toward one another, quiet down, and listen carefully.

I imagine the first basket as hands cupped together, a strong and universal human gesture. I can't know what my work will be about for other people, but I hope it will provoke something, be a starting place for an emotion or a thought. And, missionary that I am, I hope it will convert them to being artists, always looking for what is beautiful and interesting, perhaps where least expected. I want my baskets to invite people to look and touch. I am happiest when someone can't resist picking one up and holding it in their hands.