MUSÉE 29 – EVOLUTION
Evolution explores the concepts of progress, transformation, growth, and advancement in an age when images are taking a dramatic shift in the role they play in our lives.
All in From Our Archives
“Sometimes images function best when stripped of all contexts, as well as with the physicality and scale of the print. Sometimes you need that.”
“What photography does is capture life in such thin slices that everybody is off balance and everybody is in motion. In snapshot photography everybody is slumping, turning, twitching, closing an eye – doing something animated.”
“There are more questions than answers. But the answer would be, I am not as I used to be. I am struggling. But I will soon come out to continue what I was doing”
“I would define the mental space of loss as a place where one is powerless over the void that is present in one’s mind and heart.”
“I enjoy that with the ever presence of technology and the collective expanding and elastic archive of the Internet, certain ways of learning or communication have changed – breaking down disruptive hierarchies. Figures lost on the fringes are remerging to create a more complex understanding of our history.”
“I got into photography because one of my very first boyfriends was a photographer. We spent most of our hours in the dark room. He taught me everything about the dark room. Then, I just started taking photographs.”
“I think that is the point of art: to create something that engages people and then gives space to reflect.”
“I began seeking out people who were engaging in S&M activities in order to compare the spaces they used for living with the spaces that they used for pleasure with the hopes that the domestic space would look like constructed spaces as well.”
“The face is such a signifier, it is so specific. It immediately makes it personal, and I wanted to remove that from this work.”
“A lot of coffee, a half a pack of cigarettes, and the New York Times. Then, I’m ready to take a shower and head to work.”
“I always wanted to make photographs for myself and impress myself more than anybody else. I’m always in search for that feeling of knowing how to make a photograph that will interest me to look at.”
“Everything begins with a personal narrative and self-exploration. I really love acknowledging the actual physical space that’s between a viewer and an artwork, and the psychic and potential energy in that space.”
Whether or not things are ‘good’ is a subjective point, anyway. . . I think criticism is something that happens within an academic trajectory . . . art [criticism] is different because it often occurs within a specific academic and historical conversation.
There’s always a relationship between life and art, and so in a more kind of elusive or psychological way, my pictures reflect my ephemeral psychological anxieties or desires.
I guess the best way to describe my relationship to both sculpture and photography is to say that when I see an image on a screen, I see the computer hardware, and the space where it’s installed, and how people interact with it as well.
Papers are getting thinner, it’s a weird time. Maybe this project is an extended elegy for something that’s disappearing. One could say I’m in the process of playing with a soon to be obsolete media artifact.
