Diffusion comes out once a year--Volume 4 is 95 pages packed with articles, exhibitions, and exposure. I am thrilled to be a contributing writer in this issue, offering up an interview with the amazing John Chervinsky. Articles include: Exploring the Muse: Susan Kae Grant, Ken Rosenthal and Polly Chandler by Susan Burnstine,Transient Reflections and Fixed Impressions: Thoughts on the Physical Photograph in a Digital Age by Jeffrey Baker, Abstract Photography by Ryan Nabulsi.
In addition, this issue of Diffusion has featured artists profiled by photographers, a Hand-Crafted Invitational, and a Muse Juried Group Showcase. Indeed a wonderful collection of images and writing that is so worth the annual wait.
As Blue states, "Diffusion took well over a year of contemplation, conversations, considerations, and finally creation. It’s an honor to present a fresh and dynamic look at what I feel represents the current state of unconventional photography. Diffusion is an independent reader and contributor supported annual photography publication. Diffusion strives to spotlight artists pushing the boundaries of traditional photographic processes as well as introducing new and innovative voices through articles, interviews, and image galleries. This volume’s content came about as organically as any other, but I feel we’ve really pushed the boundaries of what we were—and are becoming something entirely new."
By design, we’ve moved more into the realm of book-making rather than the traditional magazine periodical format. There are several reasons for this, but most importantly is the nature of what Diffusion is intended to be: a limited edition annual. The Muse group showcase theme pushed the entire feel and content of this volume. On a personal level, I have been captivated by the concept of the muse ever since my first art history class in college. I have ventured into exploring it in my own work and have found that the illusive muse truly does exist.
After exploring this theme in our group showcase we discovered not only does it exist for other artists too, but that the muse’s energy is embodied in some very diverse entities. The other overarching theme that transpire in these pages is that of science: photography as science, and the exploration of physics, chemistry, and cognitive science. This is balanced with a good dose of photo history peppered within the articles PLUS a new section: The Artist’s Hand. I’m excited to include this brand new feature that is focused on photo-based art where the photographer has left some kind of thumbprint behind on the work itself. This section is a balance between the history and description of a process with some exceptional examples of the process being implemented by contemporary photographers. I truly believe that the work in Volume IV was conceived by alchemists—my hope is that you will find inspiration amongst their creations and perhaps even find the creative echo of your own muse as you explore and adsorb the enchantment hidden within the pages. —Blue Mitchell