Daniele Mah
Daniele Mah is a British Italian/Chinese portrait photographer specialising in photographing artists with a particular emphasis on women artists.
“Many of Mah’s past assignments as a professional portrait photographer have been for high-profile newspapers and magazines. Varied and engaging as they are, this series is different. It is her personal conception and an ongoing project that started seven years ago during conversations with the art critic Edward Lucie-Smith. As a portrait photographer, and with her deep passion for art and photography, she found herself naturally drawn to figurative art. Her resulting photographs, with their artistic references, have been exhibited in several exhibitions. Her continuing interest in the subject matter of female figurative artists led to her compiling notes and sketches utilised to visualise the compositions and scenarios in advance of her sittings. Using a medium format camera as her tool, her powerfully interpretive vision creates a synergy between her ideas and impressions, the sitters and their art”.
– Jean Wainwright
However the beginning of the pandemic and the first lockdown of March 2020 Daniele found herself in France with her husband and ended up being there for an extended period while the world went into panic and lockdown. Despite the gloomy sentiment mother nature carried on and spring flowers started to bloom everywhere. Daily walks in the remote parts of the south of France became an exciting opportunity to find more wild flowers. She started photographing the flowers in her studio and collected a small portfolio of flowers that I call ‘Fleur Sauvage”
For someone who had never photographed anything but people professionally this was an exciting and inspiring new adventure. These have now blossomed beautifully into two parts, the flower collection and a new collection which blends her figurative work with these beautiful flowers. It seemed a natural progression of joining of the dots as she had already been blending her portraits of artists with their artwork. The flowers themselves symbols of femininity and beauty merged perfectly into and onto the female form. They have grown into a collection of sensual and colourful images, a celebration of mother nature and the power and beauty of the female form and the gift of life.
Daniele Mah
Daniele Mah is a British Italian/Chinese portrait photographer specialising in photographing artists with a particular emphasis on women artists.
“Many of Mah’s past assignments as a professional portrait photographer have been for high-profile newspapers and magazines. Varied and engaging as they are, this series is different. It is her personal conception and an ongoing project that started seven years ago during conversations with the art critic Edward Lucie-Smith. As a portrait photographer, and with her deep passion for art and photography, she found herself naturally drawn to figurative art. Her resulting photographs, with their artistic references, have been exhibited in several exhibitions.Her continuing interest in the subject matter of female figurative artists led to her compiling notes and sketches utilised to visualise the compositions and scenarios in advance of her sittings. Using a medium format camera as her tool, her powerfully interpretive vision creates a synergy between her ideas and impressions, the sitters and their art”.
– Jean Wainwright
However the beginning of the pandemic and the first lockdown of March 2020 Daniele found herself in France with her husband and ended up being there for an extended period while the world went into panic and lockdown. Despite the gloomy sentiment mother nature carried on and spring flowers started to bloom everywhere. Daily walks in the remote parts of the south of France became an exciting opportunity to find more wild flowers. She started photographing the flowers in her studio and collected a small portfolio of flowers that I call ‘Fleur Sauvage”
For someone who had never photographed anything but people professionally this was an exciting and inspiring new adventure. These have now blossomed beautifully into two parts, the flower collection and a new collection which blends her figurative work with these beautiful flowers. It seemed a natural progression of joining of the dots as she had already been blending her portraits of artists with their artwork. The flowers themselves symbols of femininity and beauty merged perfectly into and onto the female form. They have grown into a collection of sensual and colourful images, a celebration of mother nature and the power and beauty of the female form and the gift of life.
