Fine Art nominee

Salvador Dali's In 1936 sculpture of Lobster Telephone became one of the icons of the surrealistic movement. In its infancy surrealism was an elitist and largely misogynistic group of white middle-class men. The group’s founders believed themselves to be above the rest of society which begot a sense of entitlement to appropriate whatever they saw fit and turn it into a surrealistic object.
Thankfully the past century has seen the ethos of our society advance dramatically, with emphasis on human rights, civil rights, and full autonomy for all of humanity. With the advent of animal welfare legislation, certain rights and respect have been afforded to all living creatures. In today’s world, even the lobster need no longer be afraid to say “I’m not your object”, as it climbs down from the telephone and crawls away – “Farewell To Surrealism”.

Daniel Remer was born in London, England, but is now based in Israel. He was drawn to photography at an early age, working mainly in black and white. In his late teens, he migrated from photography to filmmaking and studied at The London Film School. After graduating with honors, Remer secured employment with entertainment genius Jim Henson and worked on several high-profile movies and television shows both in the UK and the USA.

It was many years later, long after the advent of digital photography, that Remer’s affection for the still image was rekindled and he returned to his first love - photography.

Remer’s work is heavily influenced by the early surrealist painters, while his subject matter is often focused on existential sentiments. The results of these explorations are captured exclusively with a photographic technique called light-painting that he learned directly from master light-painter Harold Ross. By using this process, Remer feels that only now is he able to give full expression to his inner world.