I have been a fan of Daniel’s work since before I made art myself. I feel lucky to have been able to watch his work grow and progress as my own understanding of photography and art was forming. His work gave me the assurance that my desire to put my hand into my images after shooting them was valid. He says: “Too much of the current dialogue surrounding photography is framed within outdated notions of what photography should or shouldn’t be. I’m not interested in impositions dictated by others, or by history, as to how photography can be implemented. I don’t owe photography anything. It is simply a tool – and as such, it still feels largely underutilized. Rather than asking whether or not something qualifies as photography, we should instead be welcoming what photography is finally becoming.”
Website and blog
Zachary Norman‘s images sing when viewed on a computer screen. So far, this is the only way I have seen them. I have included an image of how he presents his work physically as well, because it is this back and forth between spaces I am so drawn to in his work. His images feel like documents of sculptures. Leaving us with only images and not the physical objects they describe is a fantastic use of one of photography’s most innate qualities. Taking advantage of photography’s cues to our perception and the carefulness with which it is done in this work is inspiring.
Statement from his series Exotic Matter:
»In physics, the term »exotic matter« is typically applied to matter whose existence is hypothetical or about which little is known. In this work, I have generated my own hypothetical matter; the exoticism of which is completely dependent upon its visual representation. The phenomena and matter represented in these images do not and have never physically existed. They can be seen but not touched.
This exploration is a response to a world in which a network of machines and digital interfaces dictate human perception and behavior. Given these conditions, the contemporary image and the objects represented therein have become unbound from their physicality. They have become malleable and susceptible to multiple interpretations and intentions. Thus, images and objects can be rendered exotic, in that the matter from which they are composed can be manipulated and represented in ways that deviate from expectations of how they should behave. These images were generated through various photographic and non-photographic techniques to exploit the vulnerability of the image-object relationship; the tenuousness of which reflects the relationships between non-existence and existence; ideation and materialization; space and time.«
Roxana’s work was shown alongside mine in NET 10. I enjoy the use of a photograph as a drawing tool and the fluidity between images being their positive or negative form. The transformation of daily experience and surroundings into ideas which escape imagery is important for me. Not respecting the sanctity of the image as it was seen initially in the viewfinder I also find important and see it being executed well in this work. To make that process visible and embrace it as another tool to communicate with is something this work does poetically.
Website and blog
Greetings! I’m happy to be taking part in this endeavor as guest contributor for Der Greif. I am going to share with you some artists who inspire me and whose work I feel a kinship with.
Erin O’Keefe is someone whose work I had long experienced online and upon moving to New York this past summer got to see in person at Denny Gallery as part of the group show Frameshift. How she uses photography to depict constructed space and how reality collapses into mark making in her work is of principal interest to me.
In her own words, Erin O’Keefe is a visual artist and architect based in New York City and New Brunswick, Canada. She received a Bachelor of Fine Arts from Cornell University and a Master of Architecture from Columbia University.
»I am a visual artist and an architect, and my work is informed by both of these disciplines. My background in architecture is the underpinning for my art practice, providing my first sustained exposure to the issues and questions that I currently contend with in my photographs. The questions that I ask through my work are about the nature of spatial perception, and the tools that I use are rooted in the abstract, formal language of making that I developed as an architect.
As a photographer, I am interested in the layer of distortion and misapprehension introduced by the camera as it translates three dimensional form and space into two dimensional image. This inevitable and often fruitful misalignment is the central issue in my practice.«