Jill Peters

Refinery. Areal limited edition color photograph

2015

Paddle Boarders, 2015 by Jill Peters Aerial photography Archival pigment print on heavyweight cotton rag paper Image size: 40 in. H x 60 in. W Edition 7/10 Print Unframed All sizes ...

Balconies, 2015 by Jill Peters Archival Pigment Print 40" x 60" Edition 10 Print Unframed All sizes signed, titled, dated, and numbered on artist label verso. Additional sizes are ...

Scaffolding by Jill Peters Cotton rag photographic paper 40 in. H x 60 in. W 2014 Edition 10 + 2AP Print All sizes signed, titled, dated, and numbered on artist label verso. Additio...

Marine Stadium by Jill Peters Overall size: 48 in. H x 68 in. W 2015 Edition of 2 Archival Pigment Print Print Unframed All sizes signed, titled, dated, and numbered on artist label...

Beach 2, 2015 by Jill Peters Archival Pigment Print 40" x 60" Edition 1/10 Print Unframed All sizes signed, titled, dated, and numbered on artist label verso. Additional sizes are a...

Landscape I, 2015 by Jill Peters Aerial photography Archival pigment print on heavyweight cotton rag paper Image size: 48 in. H x 68 in. W Edition of 2 Print Unframed All sizes signed, titled, dated, and numbered on artist label verso All Prices are quoted as "initial price". Please note that prices and availability may change due to current sales. _____________________________ Jill Peters finds her inspiration in the quickly changing architectural landmarks of her youth, like the demolished Miami Herald building, an abandoned roller coaster or a neglected go-cart track. Shooting mostly from air, which allows her to find a new level of intrinsic beauty to otherwise overlooked structures, Peters has gone on to capture and document man’s wider imprint on nature. Whether it’s the graphic symmetry of urban architecture or the abstract choreography of the forms and hues of nature itself. Within this body of work, one can marvel at the worn wreckage of the past or the fragile resources of the present. Born in Miami and trained in NYC. Peters worked with prestigious photographers such as Patrick Demarchelier and shot editorials for Harper’s Bazaar, LIFE, Interview, Details, George, Vanity Fair and many more publications. Upon returning to live in Miami Beach in 2012, Peters happened to revisit the Miami Marine Stadium, a landmark she had frequented as a child, Long abandoned. Jill Peters finds her inspiration in the quickly changing architectural landmarks of her youth, like the demolished Miami Herald building, an abandoned roller coaster or a neglected go-cart track. Shooting mostly from air, which allows her to find a new level of intrinsic beauty to otherwise overlooked structures, Peters has gone on to capture and document man’s wider imprint on nature. Whether it’s the graphic symmetry of urban architecture or the abstract choreography of the forms and hues of nature itself. Within this body of work, one can marvel at the worn wreckage of the past or the fragile resources of the present. Jill was recognized in Photo Lucida’s Critical Mass Top 50...

Mist and Ice, Greenland, 2019 by Jean-Michel (JM) Voge captures the beauty of an eco-friendly natural world, an image split in two (diptych), drawing our attention to climate change ...

Scotland , Limited edition archival pigment print - Edition of 5 Glencoe , Highlands This image was captured on film. The negative was scanned creating a digital file which wa...

Cadiz - Signed limited edition archival pigment print, Edition of 10 ( 5 available) People walking on the beach of Cadiz, Spain This image was captured on film. The negative was ...

"And the Party Never Ends" Monument Valley, Utah, USA - 2022 Available Sizes (Framed Size) Large: 71” x 95” / Edition of 12 Standard: 52” x 68” / Edition of 12 This work is sourced...

Corvette in the desert - Signed limited edition archival pigment print - Edition of 5 Arizona 1998 This image was captured on film. The negative was scanned creating a digit...

The photograph is available in three sizes. The print is proposed as a face-mount; it is mounted to acrylic at the front and Dibond at the back. It is ready to hang with a metal bracket on the wall. "Amour is Pink," a tranquil photograph by Anne Valverde, features the serene expanse of a beach at dusk, with the word 'amour'—French for love—spelled out in an understated neon script along the wet sand. The image is steeped in a quiet poignancy, where the vastness of the ocean meets the warmth of the sky, wrapping the scene in a gentle embrace. The sky is a canvas of soft pastels, where the blush of pink clouds hints at the sun's recent departure below the horizon. This celestial spectacle is mirrored by the ocean's surface, creating a symmetry that is both calming and introspective. The neon text 'amour' adds a layer of romanticism to the scene, its reflection on the wet sand doubling its presence, as if to emphasize the strength and depth of the sentiment it represents. Valverde's choice to place the text in such a setting invites contemplation on the nature of love itself—vast, enduring, and reflective of our own feelings. The beach, with its smooth sand and receding tide, suggests a place where emotions can be openly expressed and contemplated, while the encroaching night speaks to the intimacy and quietude that love often craves. "Amour is Pink" is a visual ode to the heart's landscape, where love is as expansive as the sea and as beautifully nuanced as the evening sky. It's a reminder that love, in its many forms, is a fundamental and beautiful part of the human experience, always worthy of reflection and appreciation. Since 2015, Valverde has been working on a neon light installation project in several countries, which she materialises through photography. The DREAM ART PROJECT Her portfolio “City Icons” in 2008 brought her work to public attention. A series about Iconic Monuments from Major cities like Paris, New York, Hong Kong, London, Dubaï… Writing with Neon brings together two passions for Anne Valverde: light and words thus incorporating her main medium of expression: Photography. Valverde brings artificial light to areas where electricity is absent, creating a dissonance in the landscape and an unexpected and dreamlike light, creating a new message, independent from preexisting signs and words. Valverde’s first message is "dream", as she invites the viewer to go past reality and reflect on open spaces for escape in a complex and tormented world. Some themes are recurring: an amused gaze on social media omnipresence, hyper-connectivity or even office language shortcuts. This contemplation of the natural landscape suddenly opens up to a perspective on social evolution. By inserting neon lights in her photographs, she initiates a return...