Before taking up the camera, Michael Levin studied flamenco guitar in Spain. Of his experience, he writes: Unlike classical guitar, which is governed by an established set of rules, flamenco guitar is more spontaneous as it works to colour and shade the performance of the flamenco dancer.
Now an established fine-art photographer, Levin has used flamenco to inform his more recent works. Ive been spending time over the last three years primarily in France, Germany and Japan trying to find my way with colour, he writes. The result of these journeys is a new body of work about the possibility of colour how it can be both old and new again.
Inspired by the muted colours of 19th-century landscape painting, the energetic fields of the post-painterly moderns, and what the Kodak No. 1 camera can achieve, Levins latest works include a series of circular pictures that could have been shot 125 years ago, when the camera debuted. And the subject matter, too, Levin says, is drawn from the painters of that time.