This page was last updated on: July 12, 2005
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MFA Thesis |
Artist Statement : How "real" was a mask, or the painting of a face, or a reflection in a mirror? Did its reality depend on the moment of perception, when the public saw the actor act, or when someone looked upon the features of a loved one dead,or when someone caught his or her own likeness in a circle of polished metal? Or did the reality of these images have an ongoing existence, beyond the eye of the beholder? Alberto Manquel, "Reading Pictures: A History of Love and Hate" These digital images are part of my commute. I am not interested in exploring my particular commute but rather the idea of reflection, motion, speed, and repetition that is associated with commuting by train. The mirrored mylar reflects and extends the images. It also lets the viewers STOP, become a part of the work and possibly see themselves in a different light and understand that a reflection has a reality beyond the moment of seeing it. |
"Speed" Rail Series 2 & 3 Entire series 2 & 3 (28 prints) Edition 1 Archival Inkjet print |
Prior to my newest subject matter of reflections I was working with Animal Rights issues in about 85% of my work. This is the entire installation shot of my MFA Thesis work. However, I felt that my animal rights issues in my work started to get dry and was feeling forced. So, I needed something fresh and new which will hopefully have an influence in my future Animal Right's work or at least give me a break from it and possibly allow me to see it in a different way. I started creating imagery of reflections. I had a few pieces in my earlier work that also had a strong emphasis on reflections. For some reason still unknown they would call to me and draw my attention away from the rest of the world around me. Hypnotisms form a street light glowing on the black top during a stormy night from one color coming of an object and illuminating another. I would and still zone on these things. Before my December show I did not know what the reflections were saying to me. So, I just started reproducing them for what they were beautiful elements of dancing light patterns sitting on unknown objects. Then I came across some text that started to influence new directions. I went with it and started to involve my viewer as part of the work through the reflective mylar. Giving them the opportunity to step outside themselves and to see themselves as another person inside the image: Who are they, why are they there. Over winter break I decided my work was headed in several different directions and I was to choose one to concentrate on. I wanted to make a more coherent body of work dealing with reflections. Each panel of "Reflect" is 11"x16". The mirrored mylar reflects and extends the image. Depending on where you stand when viewing this work depends on what you see. A distortion of the world around you. A distortion of oneself. An extention of the rail warped. Pure reflected light. The corner rails allow for an extended image into infinity or even several directions offering repitition with no set end but one you choose. "Speed" captures the ideas of motion, speed, and repetition that are associated with commuting by train. This image changed during installation. I intended it to reach from the floor to the top of he wall. However, I came across trim on my walls and had to adjust it. Each panel is 11.5" x 17.5". Also, I choose to have pieces of the image peeling of the wall instead of having it flat. This seemed to work better for this image. |
"Reflect" Rail Series 1 Archival Inkjet prints Edition 1 2003 12 prints with or w/o mirrors $ 850.00 "Reflect" Rail Series 1 Archival Inkjet prints Edition 1 2003 Single print $75.00 "Speed" Rail Series 2 & 3 Archival Inkjet prints Edition 1 2003 Entire Series 2 & 3 = 28 prints $280.00 Single prints 2 or 3 $ 45.00 Single prints set of 2 & 3 $ 70.00 |
"Reflect" Rail Series 1 12 prints with mirrors Edition 1 2003 Archival Inkjet print |
Page created by Jill Sluka 2003. |
