Tuesday, March 10, 2015

Final Portfolio - and what i found there

Lacey Haight 
and what i found there

This world is comprised of a multitude of tiny universes, each overlapping, subdividing and subsuming one another in endless cycles of visual stimulation. Yet in the whir of our daily lives there are those singular, intimate sights which catch us mid-step, arrest our eye, and for an instant, claim hold of our reality. While some visual moments are created and displayed in order to capture an unsuspecting gaze, others emerge from the surrounding proto-imagery of our everyday experience, manifesting according to our particular aesthetic sensibilities.
 

This phenomenon is heightened and becomes most engaging when one is immersed in the unfamiliar environs and aesthetic language of a foreign land and culture. Throughout my travels in Greece, Italy, Spain and France I perceived my new world through this clarified, focused, inquisitive lens, lovingly collecting the distinctive visual treasures I found along the way.




 

Tuesday, January 13, 2015

Old work/new inspirations


In my work, I frequently explore the physical nature of the materials and phenomena we depended (and still depend) upon in photography. I explore via experimentation, applying my accumulated knowledge of chemistry and physics to procedures that I think can produce interesting effects. The project I am the most involved with right now depends upon the deliberate misuse of canned air. By spraying it upside-down, I freeze a variety of light sensitive media and create exposures as the ice recedes, creating a record of both the ice and the mechanical changes that may have been precipitated by the massive temperature fluctuation. I’ve used film and paper extensively, and am currently branching into manipulating wet collodion plates with this technique (which I affectionately refer to as ‘cryogramming’) on both tin and glass. I am pursuing this most rigorously on glass, due to the capability for enlargement; I don’t know yet what a print using a cryographic negative will look like, though I can speculate based on test images I’ve taken of spraying the frost onto a variety of materials to study the patterns. I am trying to better understand the fundamental mechanics of the tools I utilize with so that I can more deeply engage with my darkroom and alternative process work.

I present Alison Rossiter as an artist that I admire, as her work with expired film is similar in it’s exploration of the physical medium. While she simply allows the decay of these materials to speak for themselves and I deliberately abuse the tools I work with, I believe there are congruencies; moreover, I find her work beautiful in it’s simplicity and concept. As the silver in the paper or film she used aged (some being almost a hundred years old!) it lost sensitivity to light, was exposed through leaks, or was damaged via a myriad of other accidents. She also utilizes dipping, painting, and experimentation in the development process which create incredible artifacts and what she describes as “finding” images.
Cryographic Tintype (2014)

Alison Rossiter

Sunday, January 11, 2015

Special guest artist in Photo tomorrow January 12, 2014 @3:15

Tomorrow (or perhaps today) Rebecca Cummins will be speaking in the MR 3 Photo Classroom at 3:15 - 4:30. She is visiting from the Seattle Washington where she is a Professor in the Photo Media area. Her work explores the sculptural, experiential and sometimes humorous possibilities of light and natural phenomena (often referencing the history of optics) to provoke curiosity in the boundaries between experience and thought, aesthetics and science.http://rebeccacummins.com/index.htm