View Cart (0)

UnBound7! Call for Submissions

UnBound7! Call for Submissions

UNBOUND! An Invitational & Juried Exhibition

July 6 – August 4, 2018

Candela Books + Gallery announces our seventh annual invitational and juried exhibition: UnBound7! The summer group exhibition will feature work from a wide range of fine art photographers. An UnBound7! gala event, will raise funds to purchase select works from the exhibition. Works purchased by Candela through this event will subsequently be included in the Candela Collection.

The mission of the Candela Collection is to support photographers through the purchase of original photographic work and to actively pursue opportunities to donate said works to notable permanent collections.

UnBound! generates opportunities and exposure beyond the traditional group or juried show. Our hope is that photographers will support us with their active participation just as we hope to support their work and careers in return. All accepted photographers will have their artwork featured at Candela Gallery, a gallery space in the downtown arts district of Richmond, Virginia.

For a look at last year’s exhibition, go here: UnBound6! Exhibition

To celebrate the 7th UnBound! exhibition, Candela will host it’s annual UnBound! event on Saturday,  July 28th. The gala will include food & drink, live music, curious entertainment… along with incredible photography. The ticket and raffle sales from this event will be used exclusively to purchase work from the exhibition for the candela collection.

All work for the exhibition will be selected by Candela’s founder, Gordon Stettinius, and Associate Director, Ashby Nickerson.

Deadline for Submissions:  April 27th, 2018
Notification of Acceptance will go out:  May 11th, 2018
Accepted work should arrive at Gallery no later than:  June 22nd, 2018

Please follow directions carefully:

– Candela Books + Gallery is looking for photographic work. We will also showcase a small selection of photobooks. Feel free to submit both!

– Only email submissions will be accepted. Though we may inquire further about the work.

Send submissions to: [email protected]

– Subject Line:  UnBound7! Submission!

Include up to 3 JPG images of work (approx. 10” x 10” x 72 dpi) in the body of a single email.
Also include a resume and artist statement, if applicable. Inclusion of an artist statement is strictly optional.

– For each image include:



(Full Description of Object would be excellent, i.e. sepia toned gelatin silver photograph OR archival pigment print OR unique paper photogram… etc.)



Photographer’s Name:


City, St., Zip


Email Address:

Artist Website:

– There is no entry fee. 

For all work selected for exhibition:

Accepted work should be for sale.

Candela gallery will retain a 50% sales commission from the sale of work to any patron other than the collection itself. All funds raised from ticket and raffle sales for the UnBound6! event will be used to purchase work for the Candela Collection.

Candela reserves the right to not exhibit work that is significantly misrepresented during the submission process.

Accepted work should be presentation ready when it arrives at the gallery.

Accepted work should arrive at our gallery no later than June 22nd, 2018.

Accepted work should include return postage. (Note: When possible please include return shipping in one of two ways: a pre-processed FedEx label that includes the requisite bar code, or a UPS shipping document.)

We will return unsold work within two weeks after the exhibition closes.

Ship work to:

Candela Books + Gallery
214 West Broad Street
Richmond, Virginia 23220

For all Collected Work:

Candela will record all relevant history for the artwork in question.

Candela will file a CV, resume, artist statements, bios for each collected photographer.

Candela reserves the right to feature the work within Candela’s gallery space.

Candela will properly insure the collection.

Candela need not seek approval before any specific artwork is loaned to an outside organization for exhibition or donated to any other permanent collection.  But Candela will make a reasonable effort to contact a specific photographer to indicate that their work has been exhibited and or acquired by another permanent collection or institution. Candela also reserves the right to reproduce the work in support of said exhibitions and will make an earnest effort to notify photographers when such reproductions occur and provide resulting tear sheets when possible.

DAY 155, 156, 157 – Schedule of Events

STEVEN CASANOVA  |  DAY 155, 156, 157

FEBRUARY 22 – 24, 2018

More than 4 months without electricity, without water — a crisis caused by a natural disaster, but made possible by over a century of U.S. colonialism. For about a million Puerto Ricans, this is still their daily reality. Without a vote in Congress, and with increasingly restrictive laws and regulation, the island has had little power in helping itself, becoming more dependent every day on outside help.

Day 155, 156, 157 is an educational experience, working to put the current crisis into perspective. The weekend programming will be composed of an exhibition of photographic and sculptural work, depicting the tragedy and the prevalent need in Puerto Rico. Proceeds from the exhibition will go toward helping small Puerto Rican farmers re-establish their farms and rebuild their communities.

A communal flag folding of a 750 square foot Puerto Rican Flag followed by a film screening of Harvest of Empire will take place on Friday, February 23rd. A documentary that takes a look at the history of U.S. intervention in Latin America and the resulting emigrations. There will also be an experimental music performance by DJ Rattan Saturday, February 24th.

Day 155, 156, 157 organizer, Steven Casanova, is a multimedia artist with a focus on social justice projects. He has been featured in group shows at 1708 Gallery, The Anderson, Studio 6, and The Valentine Museum. Since Hurricane Maria struck in September 2017, Steven has been active in fundraisers, lectures, panels, protests, marches, and work on the ground in Puerto Rico, bringing attention and aid to those affected by the tragedy.



DAY 155   |   February 22nd
​Puerto Rican flag on view from ​9am – 6pm

DAY 156   |   February 23rd
Exhibition opens at 9am
Puerto Rican flag on view from ​9am – 5pm
Ceremonial folding of flag at 5:30pm
Bijou Film Center screening of Harvest of Empire at 7:30pm

DAY 157   |   February 24th
Exhibition opens at 9am
DJ Rattan performance at 7pm

Announcing… Morgan Ashcom: What the Living Carry


What the Living Carry

MARCH 2 – APRIL 21, 2018

Morgan Ashcom, “Untitled #91,” Edition of 8. Archival Pigment Print, 24 x 30 inches

Candela Gallery is pleased to announce our first solo show with Virginia-based photographer, Morgan Ashcom. The exhibition coincides with the release of Ashcom’s recent book, What the Living Carry, published by MACK Books.

“The past is never dead. It’s not even past.” ― William Faulkner

Born and raised in Free Union, Virginia, Ashcom chisels his work out of the rural Americana of Hoys Fork – an amalgamated fiction of a small town, nestled in the South. Influenced by memories of his Shenandoah upbringing and deeply rooted in southern literature, Ashcom depicts landscapes obscured by climbing vines and dying brush, while everyday subjects perform menial tasks amongst their dated surroundings. Much like Faulkner’s mythical Mississippi-inspired county, Yoknapatawpha, Ashcom has constructed a place galvanized by the past – its resoluteness, and its refusal to be tied down or easily consumed.

 Morgan Ashcom, “Untitled #56,” Edition of 8. Archival Pigment Print, 24 x 30 inches

Through a collection of hand-typed letters written by ‘Morgan,’ requesting a DNA analysis from a certain ‘Eugene’ at the ‘Center of Epigenetics and Wellness of the Spirit,’ What the Living Carry chronicles a quest for understanding. By weaving together fragments of the living with this murky, shadowed past, Ashcom’s reality provides a prompt to mythicize one’s own memories through the lens of Hoys Fork.

Ashcom holds an MFA from the University of Hartford and currently lives and works in Charlottesville, Virginia. His work has been exhibited and published both nationally, internationally, and has won numerous awards including: Center’s Choice Awards, the German Photobook Award, and Center for Photography at Woodstock’s Photography Now Purchase Prize. Ashcom has been an artist in residence at Light Work and has taught photography at Western Connecticut State University, Ithaca College, University of Hartford, Cornell University, and the University of Virginia.

Preview Reception & Artist Talk  |  Thursday, March 1st from 5-8pm
Opening Reception & First Friday Art Walk  |  Friday, March 2nd from 5-9pm

Morgan Ashcom
MACK  Book
Photo District News

Morgan Ashcom, “Untitled #9, Edition of 8. Archival Pigment Print, 24 x 30 inches


Morgan Ashcom, “Untitled #105,” Edition of 8. Archival Pigment Print, 24 x 30 inches

January 2018 Opening “Science as Muse”

Science as Muse

January 5 – February 17, 2018

Caleb Charland, “Fruit Battery Still Life (Citrus),” Archival Pigment Print, 32 x 40 inches
Courtesy of Sasha Wolf Projects

Candela Gallery is excited to present the first show of the new year: Science as Muse, an exhibition featuring photographic works from Walter ChappellCaleb CharlandRose-Lynn FisherPam FoxDaniel KarikoMichael RaunerRobert Shults, and Susan Worsham.

The eight artists in Science as Muse share a particular interest in science, though their artistic interpretations vary dramatically. Included in this exhibition are artists who have been caught up in the documentation of the incredible worlds within which scientists practice their craft. Other artists use sophisticated equipment made possible only by modern scientific innovation. Some approach their creation through the foundational scientific process, asking questions and applying scientific method, producing unexpected results. Finally, there are those artists who have recontextualized science and its paraphernalia, imbuing or even circumventing the essence of time-tested practical applications with aesthetic pursuits.

The threads that can be teased from these different approaches remind us that photography itself comes from science, and that its early practitioners were as varied as their contemporary descendants. Among early photographers there were storytellers, technicians, explorers, and there were alchemists drawn to the unknowns that chemistry promised. This spirit of discovery then remains with us, and these artists are proof that the muse is always dancing just beyond our reach.

The exhibition will be on view January 5 – February 17, 2018.

A Preview Reception & Artist Talk will take place Thursday, January 4th, from 5-8pm.

The Opening Reception will take place Friday, January 5th, from 5-9pm.

Pam Fox, “Windsock,” 1999-2002. Gelatin Silver Print, 20 x 16 inches


Daniel Kariko, “Along City Greenway Path, May 2nd [Soldier Fly],” 2016. Archival Pigment Print, 27 x 28 inches


Robert Shults, “Untitled,” 2012. Gelatin Silver Print, 16 x 22 inches


Rose-Lynn Fisher, “Overwhelm #3,” 2014/2017. Archival Pigment Print, 4.8 x 6 inches

100 Views of the Drowning World Exhibition & Book Release

Kahn & Selesnick, “Dust Bowl,” Archival Pigment Print, 32 x 32 inches

100 Views of the Drowning World
by Nicholas Kahn & Richard Selesnick


Thursday, November 2nd  |  5-8pm
Friday, November 3rd  |  5-9pm

Against a backdrop of ecological decline, this memoir/travelogue follows Dr. Falke (the narrator), Count Orlofsky, and Madame Lulu, three members of an itinerant theatrical troupe known as the Truppe Fledermaus, as they stage absurdist performances in various locations including Europe, England, America, and Japan. In these performances, often staged in nature with no audience, the Truppe are as apt to commemorate the passing of an unusual cloud as they are to be found documenting their own attempts to flee the rising waters of a warming planet, or using black humor to comment upon the extinction of bats or other animals.

Kahn & Selesnick, “Melora,” Archival Pigment Print, from 100 Views of the Drowning World
The book, whose physical design format is modeled on Ukiyo-e series such as Hiroshige’s One Hundred Views of Edo, contains photographs of the Truppe, their travels, and their performances with corresponding text narrating the images. It is the author’s preference to have the pages of the book be loose and non-linear so that readers can explore the images and story in any order they prefer. As the incidents related in the book are frequently based on the artist’s personal experiences and travels, the reader is led to speculate about the somewhat arbitrary manner in which we build narratives out of our own experiences.

The beautiful images and corresponding text vignettes represent an enormous effort by these artists and rewards repeated visits, as even one reading is a commitment and with each visit to this collection, the story will have been again re-imagined.

Kahn & Selesnick, “Florae,” Archival Pigment Print, from 100 Views of the Drowning World


Nicholas Kahn and Richard Selesnick are a collaborative artist team who have been working together since they met while attending art school at Washington University in St. Louis in the early 1980s. Both were born in 1964, in New York City and London respectively. They work primarily in the fields of photography and installation art, specializing in fictitious histories set in the past or future. Kahn & Selesnick have participated in over 100 solo and group exhibitions worldwide and have work in over 20 collections, including the Brooklyn Museum of Art, the Philadelphia Museum of Art, the Houston Museum of Art, the Los Angeles County Museum of Art and the Smithsonian Institution.

In addition, they have published 3 books with Aperture Books, ScotlandfuturebogCity of Salt, and Apollo Prophecies.

Kahn & Selesnick, “Hives of The Forest,” Archival Pigment Print, from 100 Views of the Drowning World


Kahn & Selesnick
Candela Books – 100 Views of the Drowning World

Please inquire for more information

Kahn & Selesnick, “Tsunami,” Archival Pigment Print, from 100 Views of the Drowning World

Kahn & Selesnick, “Poster Walls,” Archival Pigment Print, from 100 Views of the Drowning World

Kahn & Selesnick, “Jellyfish,” Archival Pigment Print, from 100 Views of the Drowning World

Kahn & Selesnick, “Head Above Water,” Archival Pigment Print, from 100 Views of the Drowning World

Announcing Theory of Place



Opening Reception:  Friday, September 1st from 5-9pm 

Artist Talk:  Thursday, September 7th from 5-8pm


Courtney Johnson, “Afterlife 2,” 2014. Carbon Pigment Print from Cliche-verre, 88 x 110 inches

Candela Gallery is pleased to present “Theory of Place,” a group exhibition featuring photographic work by Marcus DeSienoCourtney JohnsonCamilo Ramirez, and Justin James Reed.

Often, we introduce ourselves by where we come from or where we live, and sometimes, by where we do not. Our environment influences our identity. Inversely, we define locations by giving names to them. The aura of a place is tethered to both physical and cultural perceptions, but what happens when this delicate balance is altered and that tether is warped or frayed at the edges?

Camilo Ramirez, “Oil Refinery,” Archival Pigment Print, 20 x 24.5 inches

 Camilo Ramirez’s series “The Gulf” explores the history and culture of the Gulf of Mexico through the exploitation of natural resources, the storied iconography of the region, and the ever-present economic dependency on the very industries altering the landscape. Marcus DeSieno examines the concept of place from a perspective that few people have access to: from behind the watchful eye of surveillance cameras. The artist explores how our complicit, and complicated, relationship with the idea of place has changed due to technologies ingrained position in modern society.

Marcus DeSieno, “48.2946856, -113.2414781,” Archival Pigment Print of a Still from a Surveillance Camera Feed

 In “The Rock’s Rotation” Justin James Reed portrays our ever-changing natural environment through exploration and observation. The resulting work is ethereal imagery of calm landscapes intertwined with a deep primal spirituality. While a place might commonlybe thought of as a physical space, more than an idea, Courtney Johnson deconstructs this notion. Johnson looks beyond these contemporary trappings, to the nexus of internal collapse and celestial rebirth. Her beautiful images begin life as hand-painted negatives on glass, using dyes from natural elements, and ultimately take the shape of supernatural cosmic images.
Justin James Reed, “Untitled,” 2013. Archival Pigment Print, 36 x 44 inches

Announcing UnBound6! Opening July 7th


at Candela Gallery

Opening on July 7th & Gala Event on July 22nd

We’re excited to announce UnBound6!, Candela’s annual juried & invitational exhibition. UnBound! features a wide array of photographic techniques from both emerging and established artists, both locally and abroad. We are very proud to bring you a compelling selection of photographic work for the sixth year in a row


Rocio de Alba    Laura J. Bennett    Lesley Nowlin Blessing    Gary Burnley    Aaron Canipe    Rebecca Clark    Jennifer Crane    Anastasia Davis    Scott B. Davis    Norm Diamond    Eliot Dudik     Matt Eich    Carol Erb    Kev Filmore    Alida Fish   Kevin Gallagher    Elijah Gowin   Lauren Grabelle    Kris Graves   Frank Hamrick    Jessica Harvey    Lauren Henkin    Aimee Joyaux   Kent Krugh    Todd Irwin Francis Lauther    Noelle Mason    James McCracken Jr.    Robert Moran    Robin Moyer   Alan Ostreicher    Emily Schiffer   Michael Sherwin    Wendy Small   Heather Evans Smith    Keliy Anderson-Staley    John Steck Jr.    Anthony Tafuro    Stephanie R. Thulin    Harrison Walker    Melanie Walker   Todd Walker



Candela Gallery will celebrate the summer exhibition by hosting our annual fundraising gala on Saturday, July 22nd from 7 to 11 pm. The proceeds raised will be used to purchase select photographic works from the UnBound6! exhibition. The event allows us to continually build the Candela Collection and generate unique opportunities and exposure for participating artists. Candela’s promise is to eventually donate the collection to a notable art institution.

We are always thrilled by the support and overall enthusiasm for the event. This years’ gala will offer libations, eats, and entertainment; including live music from The Saturn Heads, SCI FI super 8 films, Studio Two Three Print To Go, mouthwatering back alley fried chicken, adult snow cones, and any other action packed surprise we can come up with before then. Our annual summer party has earned its reputation as a legendary good time. Be there!

Event tickets ($50 per person or $90 per couple) are being sold in advance online and at the gallery. Visit our website, stop by the gallery, or call 804 225 5527 for your ticket!
Raffle tickets ($10) will also be available in advance and at the event.

Please feel free to show your support for a good cause by buying raffle tickets even if you can’t attend the event… your ticket will pay forward to some sweet unsuspecting stranger at the party, AND you’ll be helping us collect photography! 

Lauren Henkin, “Roses,” 2014. 40″ x 32″ Archival Pigment Print

Anastasia Davis, “Untitled (bushes),” 2014. 16″ x 20″ Archival Pigment Print Mounted on Dibond

James McCracken Jr. “Urban Farmer: Brooklyn,” 11″ x 14″ Platinum Print

Noelle Mason, “Banned/Contraband (Tropic of Capricorn),” 24″ x 18″ Archival Inkjet Print, Tropic of Capricorn, Psilocybe Cubensis “Golden Teacher”

Announcing… Upcoming Solo Exhibitions by Jared Ragland & Alyssa Salomon

May 5 – June 24, 2017

Jared Ragland, “Untitled,” 2015. Edition of 5. 28″ x 35″ Archival Pigment Print

Jared Ragland:  Everything is Going to Be All Right

“All these years I have been assuming that between us words mean roughly the same thing, that among certain people, gentlefolk I don’t mind calling them, there exists a set of meanings held in common.” – Walker Percy, The Moviegoer

In “Everything is Going to Be All Right” Jared Ragland reflects on his personal history living in the American South and visually narrates the existential journey of Walker Percy’s character, Binx Bolling from the 1961 novel, The Moviegoer.  Set in New Orleans, The Moviegoer follows Binx’s pilgrimage for a clearer understanding of himself. In a similar way, Ragland’s work challenges viewers to experience beyond the lens of visual observation, encouraging them to reflect within, and strive for a more personal understanding. Steeped in the New Orlean’s landscape, the images within the series are a combination of black and white photographs and appropriated, digitally sourced images that often blur our perception of reality and evoke a deeper meaning.

Jared Ragland is an Alumnus of LaGrange College and received his Master of Fine Art in Photography from Tulane University in 2003. He currently resides in his hometown of Birmingham, Alabama.

Alyssa Salomon, “06130013-2 2016-06-13 PFVA,” 2016. 22″ x 17″ Van Dyke Photo on Pigmented Cotton Rag Paper

Alyssa Salomon:  ANIMAL LAND

Alyssa Salomon’s newest series, “Animal Land” explores the nocturnal landscape and the feral beauty hidden within heavily developed places along the East Coast corridor. Over the course of the last year Salomon has served as an Artist-in-Residence at Virginia Commonwealth University Rice Rivers Center, collaborating with biologist Anne Wright, Rice’s Director of Environmental Outreach, to highlight the mysticism of the ecosystems within the Central Virginia section of the James River Watershed. Salomon transforms night-vision stills from digital infrared cameras into handmade van dyke prints, resulting in romantic visions of unseen environments. In this ongoing photographic project, Salomon invites viewers to reconsider familiar landscapes as being cohabited by humans and other species, presenting moments experienced by non-human animals that are often overlooked and would otherwise not occur in the presence of humans. 

Special thanks are due Anne Wright for allowing use of imagery collected from biodiversity research in James River Park System.  To Dr. Leonard Smock, Dr. Greg Garman, Anne Wright, Virginia Commonwealth University Rice Rivers Center, Science in the Park, Nathan Burrell and James River Park System, appreciation and admiration for innovative thinking, imaginative research, generosity, and spectacularly rich habitats. 

Related Links: Jared Ragland & Alyssa Salomon

A preview reception and artist talk will take place Thursday, May 4th, 5-8pm.

The exhibition will open to the public Friday, May 5th, 5-9pm.

For more information please contact the gallery at 804.225.5527 or [email protected].

Announcing… CHOP SHOP


MARCH 2 – APRIL 22, 2017

Ayumi Tanaka “The path,” from the series Wish You Were Here. 2014. 16″ x 20″ Silver Gelatin Print

Candela Gallery is pleased to announce CHOP SHOP, an exhibition exploring the work of seven artists, who are transforming images through various processes of manipulation. Featured artists are: Nadine Boughton, Tom Chambers, Blythe King, Peter Brown Leighton, Lissa Rivera, Ayumi Tanaka, and Maggie Taylor.


Maggie Taylor “What remains?,” 2016. 22″x 22″ Inkjet Print

Though each of the photographic works in this exhibition have been altered through digital manipulation, the tools of collage, illustration, deconstruction, redaction, surrealism are used in different measures by the exhibiting artists. By chiseling the foundation of their imagery, new perspectives are presented, as meaning shifts away from the real, slipping through different eras and otherworldly narratives.

Peter Brown Leighton, “Man Lives Through Plutonium Blast,” 2014. 10″ x 7″ Archival Pigment Print

Since it’s invention, the camera has been considered a truth telling instrument. But all along, there have been subversive applications, when depictions of the real have been pushed to suit the needs of the maker. So, information became less concrete and far more subjective and photography more mutable. Each of these artists, have uniquely embraced fabrication and the whole cloth creation of ideas, shaping reality by their own designs.

The exhibition will be on view March 2 – April 22, 2017.

A Preview Reception & Artist Talk will take place Thursday, March 2nd, from 5-8pm.

The Opening Reception will take place Friday, March 3rd, from 5-9pm.

Lissa Rivera, “San Jose, California,” from the series Absence Portraits. 5″ x 7″ Archival Pigment Print  Courtesy of ClampArt

Tom Chambers, “Glass Flower,” 2010. 14″ x 14″ Archival Pigment Print

Blythe King, “X-Ray Vision,” 2017. 20″ x 16″ Image Transfer, Collage, and 23K Gold Leaf on Illustration Board

Nadine Boughton, “Wingtips,” 2015. 15″ x 15″ Archival Pigment Print


Nadine Boughton

Tom Chambers

Blythe King

Peter Brown Leighton

Lissa Rivera

Ayumi Tanaka

Maggie Taylor

Announcing…. Susan Worsham: By The Grace Of God


January 6th – February 18th, 2017 

worsham201Susan Worsham, “Diospyros virginiana (Virginia Sugar-plum),” 2014. 40” x 50” Archival Pigment Print

Candela Gallery is pleased to announce By The Grace Of God, our second solo show from Richmond, Virginia based photographer, Susan Worsham.

Over the past nine-years, Susan Worsham has let curiosity and a sense of nostalgia guide her, traveling quiet roads, to warmly lit places, engaging with people she meets along the way. Her portraits illustrate collaborative reflections of fleeting moments shared between strangers. Images of backyards, shrouded by overgrowth, lush with vivid color are rich with a deeper truth. Dated facades, blanketed by dust, are each a chronicle of time’s passage.  Worsham’s work often serves as metaphor for her own life experiences.

worsham231Susan Worsham, “Icing Fingers,” 2014. 32” x 40” Archival Pigment Print

The artist writes, “These portraits represent a connecting point where two separate paths cross in the road and make something beautiful together that they could not have done without the other. For me these pictures become the proof of that moment and that beauty existed in it.”

Through brief encounters, Worsham rediscovers the rusting edges of her own southern childhood.  The photographs delicately impart a sense of intimacy, and enigmatic symbolism.  The experience of this exhibition will be inimitable, poetic and deeply personal, drawing inspiration in equal parts from the artist’s memories of family, from the southern landscape, and from the commingled confusion of sadness and beauty.

8aSusan Worsham, “Bottled Light, William Eggleston’s Childhood Home, Sumner, MS,” 2013. 25″ x 20″ Archival Pigment Print

A preview reception & artist talk will take place Thursday, January 5th, from 5-8pm.

The exhibition will open to the public Friday, January 6th, from 5-9pm.

Related Links:—-/1