Monday, March 23, 2015

Michelle Bablitz



Michelle Bablitz is an artist working predominately in the fields of photography and writing. Bablitz received her MFA degree in Imaging Arts & Sciences from Rochester Institute of Technology, and she has exhibited in both solo and group exhibitions across the United States. Her photographic work largely encompasses the motifs of memory, loss and self-actualization. Bablitz resides in Brooklyn, New York, where she actively writes, photographs, and runs the artist agency SAINT LUCY Represents.



Artist Statement: I could go with you.

The series I could go with you. is the fragmented narrative of an internal struggle following a traumatic event. The series’ narrator is unable to come to terms with memories that are overwhelmingly painful. While attempting to navigate daily life and regain a sense of normalcy, she is afflicted with repressions from the past emerging in her present-day world. The images obscure the possibilities of the narrator’s future with a permanent state of loss in her past, collapsing the confines of time and space. Her fragile retrospective sentiments, as well as the fractured chronology, are examined through glass etchings.



I could go with you. is an investigation into how text and image work together to communicate a story, while challenging the credibility of memory. In many ways a photograph is eternally fictional and unattainable; one can never look upon an image and revisit the same scene or moment that was tangible only for a fraction of a second to the image-maker. A photograph transports its viewer to a scene that can be infinitely reinterpreted, but never truly revisited. However, once text is written, or etched onto glass as it is in this series, it has factual and constant points of entry that conjure unique images and reference points to each reader/viewer. Text and image communicate a disjointed narrative that mirrors how memory and trauma function in the human psyche when combined in this series.



















Monday, March 16, 2015

Light Leaked SPE Meet up


WOW! What an amazing SPE National in New Orleans this year! I am so amazed by all the photographers I met this weekend and the conversations we shared. Thank you so much to everyone who came out to the Light Leaked Meet up on Thursday night at Bellocq. Most of whom stood in the rain to take this amazing little photo with Eliot Dudik

I was honored to meet so many LL photographers in person for the first time, and to work together to build community. I will be taking this week to look through all the work that I had the pleasure of seeing this weekend, and will continue sharing photographs next week!   

Here's to seeing each other again soon, 

Ashley 

Monday, March 9, 2015

Allison Cekala


Allison Cekala is an artist currently based in Boston, MA. She holds a BA from Bard College in Photography and Environmental Studies (2006) and an MFA from the School of the Museum of Fine Arts, Boston and Tufts University (2015). Primarily lens-based, her work is an investigation of nature; a documentation of the way in which humans move, shape, and transform their surroundings. She is the recipient of the Montague Travel Grant, the Karsh Award in Photography, and is currently a teaching fellow at the School of the Museum of Fine Arts, Boston.

Road Salt: A 4500 Mile Journey, is currently on view at the Museum of Science, Boston (installation views below) and in the group show Empire of Dirt at the Paul Robeson Gallery at Rutgers University, Newark. Her work has been reviewed in the Boston Globe, WBUR’s Artery, among others.



Project Statement: Road Salt

Road Salt is a biography of a material. It is a record of extraction, migration, and physical transformation of Boston’s road salt, initiated by a vast and intricate choreography of human labor and global trade. From the Atacama Desert of northern Chile, the salt travels by boat 4500 miles through the Panama Canal and up the east coast of North America to Boston where it is spread throughout the city in winter months. Its implications are simultaneously ephemeral and long lasting—we use the salt once, then it melts out of our consciousness, but the salt continues its journey into the Atlantic Ocean—and beyond.

The ways in which humans move, shape, and transform their surroundings are complex and significant. This could be the story of any material. Road Salt asks us to consider where materials come from, what stories they tell, and how all is interconnected within the singular system that encompasses Earth.
















Monday, March 2, 2015

Lindsey Beal



Lindsey Beal is a photo-based artist in Providence, Rhode Island where she teaches at Rhode Island College. She has an M.F.A. in Photography from the University of Iowa and a Certificate in Book Arts at the University of Iowa’s Center for the Book. She is represented by Boston's Panopticon Gallery.

Her work combines historical & contemporary women’s lives and feminism with historical photographic processes. She is interested in the photograph as object and often includes sculpture, papermaking and artist books into her work.

Her work has been shown at national museums, galleries and universities and is included in various public & private collections. She recently earned an Honorable Mention for Center Forward 2014 at the Center for Fine Art Photography. She was a Finalist at the 87th Annual International Print Competition at The Print Center and received an Honorable Mention for emerging American photographers by the Magenta Foundation. Her work can be found at lindseybeal.net.


Artist Statement: Transmission

A bacterial sexually transmitted infection is a living, growing, mutating thing that exists within the human body. The act of transmission is often sexy; yet what is transmitted is menacing. The bacterial STIs before you (BV, Chlamydia, Trichomonas, Gonorrhea and Syphilis) can be silent for women and have little to no symptoms for men: they reveal themselves mainly through medical tests. Without testing, the cycle continues: without noticeable symptoms, no treatments are received; without treatments, the infections are unknowingly passed to others. Though mostly silent, all of these infections have potentially catastrophic side effects like pelvic inflammatory disease, joint disease, meningitis, sterility and fatal pregnancies. Although we should have eradicated these long ago, bacterial STIs continue to exist. Frighteningly, they are beginning to mutate and become drug resistant; gonorrhea specifically has outgrown our current treatments. Due to the recession, many non-profit clinics in which these STIs could be identified and treated have closed. What once seemed like a scary yet treatable nuisance or temporary problem is becoming a major public-health concern.

Transmission’s images are created by using open-source imagery from the Center for Disease Control. The images were altered, and then converted into digital negatives, which were used to print the cyanotypes. The prints are embedded in resin within Petri dishes. Each STI is represented in various images and whose information and prevention can be read about in the accompanying artist book.

 












Monday, February 23, 2015

Clare Benson



Clare Benson is a photographer and interdisciplinary artist from the United States. Her work has been exhibited and screened throughout the US and internationally. Benson earned her MFA in Photography at the University of Arizona in Tucson, and her BFA in Photography at Central Michigan University. She is currently living in northern Sweden on a Fulbright Fellowship.


Artist Statement: The Shepherd's Daughter

My work is deeply rooted in my family history. After the death of my mother when I was eleven years old, I became increasingly curious about notions of family, memory, and mortality.

I grew up with my father: an avid hunter, archery champion, and former hunting guide in the Alaskan wilderness. Before my father, my grandmother was a hunter and before that my great-grandmother, and long before that the stars made up constellations that told stories of the greatest hunts. In my work, the nuances of hunting and the rugged northern Michigan landscape of my childhood are woven with narratives of genealogy and identity, memory and mythology, time and space.


Interview conducted by Allison Jarek, Exhibition Coordinator for the Joyce Elaine Grant Exhibition 

Allison Jarek: How did your series The Shepherd’s Daughter begin and evolve?

Clare Benson:
The Shepherd's Daughter began unofficially in 2011 when I was in graduate school. Before this I had been making work that explored my relationship with my mother and my memories of her illness and death when I was a child. One day someone asked me what I would make work about if I wasn't making work about my mother. Without hesitation I answered, “My father.” For as long as I can remember, I've been fascinated by family history, memory, mortality, and how these aspects are (or are not) reconciled as we go through life; how they become part of our identity and the way that we interpret the world.

When I started creating these images, I wanted to connect with my father and get to know who he was beneath all of the differences and the fifty-two years that separate us. I came across a collection of old slides from the 1970s, when he was a hunting guide in Alaska, and I began using these as inspiration. Some of my photographs were staged to mimic specific images from this old collection; an attempt to insert myself into moments that had died long ago, moments I could never know.

As I continued this work, I dug deeper into my family history, learning about the stories of my ancestors and their relationship to the same place where I grew up. At a certain point I realized that in all of this digging I was ultimately seeking some understanding of my own place in the world; my connection to family tradition, to time, and to the silent memories of the landscape.





AJ: Describe your working process. Is your methodology more intuitive or constructed?

CB:
My working process involves a combination of intuition and some planning, but mostly intuition. I find inspiration in dreams, things I see in films, read in books, or experience in life. I try to write notes and sketch things out as much as possible. Sometimes I have a really clear idea of an image before I go to shoot and other times I just play and explore. Once in a while, an idea comes to life years later and I remember only afterward that the idea existed long before.

I've had a lot of “coming full circle” moments in my work, which is something that helps me feel more free, and allows me to trust the process.





AJ: How do you think about your use of props/familial objects in your work and what part do they play in your investigation of memory?

CB:
For a number of the images in this series, I have worked with animals: some living, some recently hunted, and some that have been taxidermied (though I assume it is fairly obvious, it should be noted that the animals in my images have not been, and will never be, killed for the purpose of this project).

It's hard for me to speak of them as props or objects, but rather as characters. They still have a certain life to them, and for me they represent memory. Like photographs, they are frozen in time, capturing, preserving, and memorializing some essence of a moment. By taking them off the wall and back into nature, it is like turning back time, moving through memory in reverse.





AJ: What have you learned about yourself and your family through the creation of this series?

CB:
I've grown closer to myself and my family through this process, and in ways that I couldn't have imagined when I started this series. The work has opened up great conversations and interactions with family members; many of them have become more trusting and vulnerable in this time, sharing stories and experiences from the past. I've developed a profound respect for each of them and the bond that we share. Perhaps some of this is simply a result of growing older and realizing the importance of family; either way, it is a feeling I am grateful to know.





AJ: You are currently a Fulbright Fellow. For artists interested in pursuing a Fulbright, can you speak about the process?

CB:
I am currently in the middle of my Fulbright project here in Sweden and will be finishing up at the end of June. The application process involves a lot of work and research. It helps to have some previous experience working or studying abroad, and to be very specific with where you want to go and why; it should be a place that is crucial to the development of the project. Community involvement is also important with the Fulbright program; one of the biggest hats that one is expected to wear as a Fulbright scholar is that of an ambassador. And of course persistence is key, as is the case with all applications and the inevitable rejections that come with the process. I applied two years in a row and was accepted the second time around. It is an incredibly rewarding experience and worth all of the hard work, even if it is just for the practice of gathering information and putting together the application.


AJ: Your traveling exhibition The Shepherd’s Daughter is currently at Texas Woman's University in conjunction with the Joyce Elaine Grant Exhibition. What were your experiences putting together a solo exhibition? Do you have any advice for emerging photographers in the beginning stages of their careers?

CB:
Last year I received the Joyce Elaine Grant Solo Show Award. That was something that pushed me to expand this series, which in turn has opened up many more opportunities to exhibit and share the work. Group exhibitions can be fantastic, but a solo exhibition allows the work to be seen in an isolated and immersive environment; it allows the different works to speak to each other from across the room. This is something I think about a lot, especially since I work across multiple disciplines.

My advice for emerging/early career photographers would be to keep shooting and to keep putting your work out there. Apply to shows and competitions and reviews (yes, it will be exhausting), and somewhere among the sea of people who see your work, there will be those who really see it, and who want to exhibit it and award it and offer valuable feedback to make it even stronger.






Installation shots by Rachael Banks