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Tagged: Leigh Anne Langwell

Leigh Anne Langwell

Posted by staff on July 25, 2013

Photograms: Life Illuminated,  Featuring “Dark Field”

Exhibition Dates: August 2 – September 28, 2013

Artist and Public Reception, August 2 from 6-9 pm


“I have always envisioned the core of the body as somehow illuminate—a self contained lighting storm.” Leigh Anne Langwell


Leigh Anne Langwell’s search for meaning via the human body affords the audience a sensual experience of photography. Upon experiencing the artist’s immense mural, Dark Field (1999), it is clear that Langwell’s photograms break and exceed traditional photographic strictures. Dark Field conjures feelings of connection with the universe simultaneous with the inner workings of the body. Through the presence of fluidity, ambiguous content and contrasts of dark and light, Langwell’s work elicits responses of disruption, pleasure, and wonder. The immense five-panel piece is a vision of energy, life and death simultaneously.

Langwell’s solo exhibition at The Center features “Dark Field” and includes several photograms from her Black Frame series.


Dark Field, Leigh Anne Langwell (1999)


Untitled No. 13, Leigh Anne Langwell

To see more of Leigh Anne Langwell’s work, please go to her website

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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My earlier work was specifically concerned with the historical conventions of scientific imaging that often appeared in outdated scientific texts from the late nineteenth and early twentieth centuries.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of logic that dictated how the information was presented in relationship to a body of presumed facts that were either no longer valid or had simply ceased to exist outside of their own obsolete relationships.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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