Perspectives - The Blog

Tagged: Current Exhibition


Posted by The Center on October 4, 2010

(Photo credit: Gwen Arkin, “In the Night Kitchen”)

The true test of acclimatizing to a new space is whether or not you can navigate it in the dark without bumping into something. While large sofas and coffee tables easily embed themselves into our memory maps, the kitchen is another matter. Extra chairs, piles of plates, empty bottles – meals and conversations linger but the objects fade. Photographer Gwen Arkin explores the narratives that surround these commonplace objects.

An excerpt from her artist bio reads:

Using processes perfected in the earliest days of photography, Gwen Arkin uses the simplest of cameras to record familiar scenes and objects. She exercises her alchemy and artistic will in the darkroom to offer images at once familiar and ephemeral. She composes continuous narratives, linked with gently superimposed visual segues. Fugitive figures imply a spiritual dimension, while their softly focused stillness conjures the legacy of photographic Pictorialism.

More of Gwen’s work can be seen here

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Posted by The Center on September 29, 2010

(Photo credit: Leigh Anne Langwell, “Drift”; Juror’s Selection)

Leigh Anne Langwell’s photograms burst across the paper surface like so many dying stars and exploding galaxies, the stuff of science fiction or microscopic cellular analysis – either/or would fall in line with Langwell’s thinking.

She writes:

My professional background in biological and medical imaging has had a considerable impact on my artistic process. My earlier work was specifically concerned with the historical conventions of scientific imaging that often appeared in outdated scientific texts from the late nineteenth and early twentieth centuries.

What I found interesting were the outmoded conventions of logic that dictated how the information was presented in relationship to a body of presumed facts that were either no longer valid or had simply ceased to exist outside of their own obsolete relationships. When the context of these images ceased to adequately inform them, fact became rather pliant metaphor that called into question the veracity of the nature of observation and the presumed objectivity of both the observer and the scientific document itself.

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