Monday, June 1, 2015

Light Leaked Summer Hiatus

Starting today, Light Leaked will be taking a summer hiatus so that I, Ashley Kauschinger, can concentrate on my new body of work and recharge.

Not to worry, I will continue sharing inspiration in August!

Actually NOW would be the perfect time to propose a project, article, how-to, exhibition, guest editor, interview, collaboration idea that may take an extended period of time to create to publish when we get back. Send those ideas along to so we can all get working!

I hope that all the artists out there have a beautifully fruitful summer. 

Remember that your voice is important and powerful.

Talk soon,


Monday, May 25, 2015

Ayumi Tanaka

Ayumi Tanaka is a Japanese-born artist, living and working in New York City. Tanaka has been working on collage work by using found images from private snapshot and the Internet to explore theme of memories. She received a BFA from Osaka University of Arts in Japan in 2002, and studied at International Center of Photography in 2010. Her work has been shown internationally at exhibitions including United Photo Industries Gallery in New York, Tokyo Institute of Photography in Tokyo Japan, 25 CPW Gallery in New York, Pictura Gallery in Bloomington IN, Dumbo Arts Festival 2011 in NY, and LOOK3 festival of the Photographs 2012 in Charlottesville VA. Her work has been published at "PHat Photo (Tokyo, Japan), Lettre International (Beriln, Germany), LensCulture, GUP Magazine, Featureshoot. Tanaka was awarded International Center of Photography Director Fellowship in 2010 (New York), Grand prix at Tokyo International Photography Competition 2013 (Tokyo, New York), Photolucida Critical Mass Top 50 and Feature Shoot Emerging Photography Award 2014.

Artist Statement: Hide and Seek 

I have been working on a collage project by photographing three-dimensionally layered negatives within dioramas. My approach, with the use of fairytales to tell personal stories, is to try to silhouette the remembrance and oblivescence of my own childhood. As exposing and hiding the emotional component of my childhood and where I am today, I try to seek out the depth of memories through working with shadows of mementos. I photograph light and shadows, which are created by multiple layers of negatives within a three-dimensional diorama that function as device, to create tableaux. The stories are comprised of private snap shots, and appropriate everyday objects from the Internet as symbols, as well as the photographs that I take for collage component.

Monday, May 18, 2015

Jessica Somers

Jessica Somers is a photographer specializing in historic photographic techniques and self-portraiture. Jessica has been in love with photography for most of her life. She was exposed to the act of picture making through her grandfather, an avid amateur photographer, and in the family bathroom-turned-darkroom after sunset. Here, her parents would allow her to witness actual magic as she stood over the chemical trays watching an image appear where only a simple white sheet of paper was before. As a kid she received a Kodak disc camera and became addicted to the act of expressing her individual view of the world from the 4 foot high perspective of a seven year old. Her height has since increased but her addiction continues.

Jessica's work has been exhibited nationally and is represented by the Catherine Couturier Gallery in Houston, TX. Her research on alternative processes and select photographs are published in the 3rd edition of The Book of Alternative Photographic Processes by Christopher James to be released in 2015. She is a recipient of the 2012 Artist Fellowship Award by the The Connecticut Office of the Arts. Jessica currently teaches photography throughout Connecticut and at the Lesley University College of Art and Design in Boston.

Artist Statement: Paper House

When I entered into marriage and domestic life I experienced an intersection between personal choices and societal expectations. Suddenly the traditional aspects of nesting I had previously deemed objectionable became desirable. I both loved and loathed the idea of myself as a sort of servant in my home.

Through the self-portrait series Paper House, I investigate which of my actions are genuine desires and which actions are inherited from societal expectations common to previous generations of American women. These photographs reference my struggles, my reflections and my fears through visual metaphor. While I do not wish to take for granted my healthy relationship and stable home, I acknowledge the challenge of maintaining my personal identity amid the expectations that come with such gifts. I accept that even between the strongest of partners an unexpected earthquake can come along and knock the house down. But an earthquake can never undo the effort to sustain that which you love and endure.

Monday, May 11, 2015

Yoav Friedländer

Yoav Friedländer's grandfather, Kurt, fled Austria immediately to Israel after the Kristallnacht ("Crystal Night") and was a British Brigades soldier during WWII and later served in the Israeli Army. Yoav grew up in the valleys of the Judean Desert between Jerusalem and the Dead Sea. He is native to Israel but was uprooted from his past. After High School he joined the Israeli army for a mandatory service of 3 years. He started as a paratrooper, and became the fourth generation of army soldiers. Yoav received his B.A in Photography from Hadassah College Jerusalem (2011), and an MFA from the School of Visual Arts.

Artist Statement: A Form of View 

I grew up in the valleys of the Judean Desert between Jerusalem and the Dead Sea. My work presents the chaotic perception of an “Americanized Israeli”; composed of mediated American culture, desert landscapes, and war, which became integral throughout my life. I mix scale models with straight photographs, both of Israel and the US, and form a conjunction between two different cultures and sets of geographical locations. The work is based on the recognition that our world is informed by images, as photographs represent and replace experiences & memories. 

Various aspects of our reality, are being described by photographs and have never been experienced by us in person. Photographs have set the expectations for things we might experience; at times we find ourselves considering what is real to be different from how it should be according to its own image.

Scale models I build accompany the landscapes I photograph. They are recreations of places I don’t have physical access to: memories, and images of places and spaces that I saw through photographs. I make them, and photograph them with the intent that they will echo the realism of the original and bare the illusion of the photograph. The models act much like photographs, they share an indexical relation to the original. Images refer to the reality they record and my models refer to the images that represent reality. Both enable external observation of a reality’s-proxy.

  I am relying on preexisting images when photographing the landscape, as I am aware that I cannot reverse the influence of those images on my vision of the landscape. I found myself photographing the landscapes of both Israel and the U.S. from the same stand point: at the margins of the road. While in Israel I have adapted to the war torn restricted access to the land, in the U.S. I am bound to the same position only due to the privatization of the land as property.

Perhaps we’ve changed places and now we look at our world through the perspective of the camera. Maybe we haven’t just mixed the original and the copy, perhaps we’ve swapped between them. It seems that ever since the invention of the photograph, reality has become augmented by its own image.

Monday, May 4, 2015

Lynné Bowman Cravens

Lynné Bowman Cravens was born and raised in Austin, TX. She grew up learning painting, drawing, and sculpture from her mother, Brucie Bowman, who is an accomplished artist. Cravens was first introduced to photography as an art form during a summer workshop at The Art School at Laguna Gloria. Cravens received a BA in Photocommunications from St. Edward’s University in the spring of 2009. She is currently working toward her MFA in Photography at the University of North Texas, scheduled to graduate in May of this year. She currently resides in Denton, Texas.

Artist Statement: Vessel 

The series, Vessel, focuses on the body. Through meticulous physical distortions and transdisciplinary techniques I create pieces that deal with personal experiences, identity, and our physical forms. Vessel is autobiographical in nature, however each piece in the exhibition deals with the body in some way. We are forced to experience the world and each other through our physical bodies. Our body becomes a vessel for our thoughts and experiences, housing all of our hopes, fears, and memories. While each piece in the show addresses a different experience, the overall exhibition showcases the many complexities present in a single individual.

Monday, April 27, 2015

Aspen Hochhalter

Aspen Hochhalter is an Associate Professor of Art and the Photography Area Coordinator in the Department of Art and Art History at the University of North Carolina at Charlotte. Her work has been exhibited nationally and examines contemporary photographic themes as well as the crossover between digital technology and historic photographic processes.

Artist Statement: The 92/20 Self-portrait Series 

92/20 is a collection of 92 wet plate collodion ambrotype self-portraits created in 20 days during the summer of 2011. These very personal self-portraits speak to the construction and deconstruction of feminine identity. It was also an experiment in returning to not only the roots of photographic expression by utilizing one of the earliest photographic processes, but also a return to the bare essentials of photographing: a reliance on self, silver and the sun. Yet, since wet plate collodions have to be coated, exposed and developed in a matter of minutes--all while the light sensitive photographic emulsion is still wet - this nineteenth century process has an intriguing parallel to the instant gratification of our current digital age.

The images themselves are elusive sketches of a “self,” playing to the camera, flowing in and out of poses and clichés--juxtaposed with unexpected flaws, irregularities, missing pieces and unsettling cuts and tears. I revel in the mistakes, the odd textures and unexpected chemical smears and veils that emerge on the photograph--most of which serendipitously occur over an eye or mouth--chance deletions and desecrations of the form that create an intense emotional content for which I couldn’t have planned. With the 92 plates, I am now reconstructing what I deconstructed and fragmented with the camera, creating odd approximations of a whole. A sometimes unsettling reconstruction of self emerges: dismantled, fragmented and then stitched back together.