STATEMENT OF PRACTICE REVISED.

 

Right around the corner from my apartment building is a store that specializes in selling vacuums. I walk by this store everyday and I am always struck at the amount of ways someone can choose to pick up unwanted debris from their home. Two doors down is a store that sells lamps, only lamps. There are hundreds of lamps to choose from. All of them are hideous but still hundreds of choices. This idea of being able choose, choosing what we focus our attention on, what kind of mattress we want to sleep on, or the food we eat. What interests me is not necessarily the choices themselves, but watching people navigate those choices.

 

The way in which I try to show these internal struggles of choosing is through photography.  Taking pictures allows me to be apart of that contemplative moment with the subject, however long or short I might be viewing. The choices I make are decided where I am looking and I try to go to places where others are actively looking/seeking out a resolution to their choice. Whether it be which animal to look at next at the zoo or which food truck they are going to go to for lunch.

 

For a while I found myself taking photographs not knowing exactly why, or at least being not able to explain why. Through the physical manipulation of photographs in my sketchbook I was able to more clearly see the patterns in my images. I was also becoming more involved with the scene/moment in time, extending that moment in time by going back to it and altering it in some form.

 

By studying the images more closely in my sketchbook/studio, I am able to create a more tangible way of displaying the act of looking and choosing. This “studying” of my images is often a timely and frustrating process in itself. For example, I printed a rather large image of mine of the back of an old lady’s head looking at lions. It was costly to print and I was weary about altering it. Almost satisfied with just the image itself, I decided I had to do something to it before I decided to do nothing at all.  I altered the picture by separating the foreground and the background. Basically just cutting it in half.  After critique I realized something was still missing, it really forced me to try and understand my motives better. Eventually I took the lady out of context completely and put her on a white background. It was then that I found out that I didn’t so much care for the objects that people were viewing but rather the action of looking. For me going to the studio is a time for both personal contemplation and just generally figuring out things. I use “things” very broadly because often times, like I mentioned above, I usually don’t know what those things are.

 

I find the repetitive nature of visiting a place over and over again to be something that helps me in seeking out how people go about navigating their choices. I have been going to the zoo two to three times per week for 3 hours at a time. Doing this allows me to compare and contrast how people react to different situations and see how they choose re-route their plans. Obstacles such as a long line to get food, or not being able to see a panda bear leads to things such as disappoint or fighting. How one reacts to these obstacles is a choice in itself. There is an overabundance of choices and constantly exposing myself to these reactions helps with what images I choose to take.

 

I think I make art/take photographs because I have some sort of need to visually express my fascination with human interaction in ways that I would not be able to do with words. I have always been interested in abstractly portraying the inner workings of my mind. My photographs are a more conceptual practice that lets me try to show what goes on in the minds of others.

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Statement of Practice?…this might be a mix of practice and artist statment.

Right around the corner from my apartment building is a store that specializes in selling vacuums. I walk by this store everyday and I am always struck at the amount of ways someone can choose to pick up unwanted debris from their home. Two doors down is a store that sells lamps, only lamps. There are hundreds of lamps to choose from. All of them are hideous but still hundreds of choices. This idea of being able choose, choosing what we focus our attention on, what kind of mattress we want to sleep on, or the food we eat. What interests me is not necessarily the choices themselves, but watching people navigate those choices.

The way in which I try to show these internal struggles of choosing is through photography.  Taking pictures allows me to be apart of that contemplative moment with the subject, however long or short I might be viewing. The choices I make are decided where I am looking and I try to go to places where others are actively looking/seeking out a resolution to their choice. Whether it be which animal to look at next at the zoo or which food truck they are going to go to for lunch.

I find the repetitive nature of visiting a place over and over again to be something that helps me in seeking out how people go about navigating their choices. I have been going to the zoo two to three times per week for 3 hours at a time. Doing this allows me to compare and contrast how people react to different situations and see how they choose re-route their plans. Obstacles such as a long line to get food, or not being able to see a panda bear leads to things such as disappoint or fighting. How one reacts to these obstacles is a choice in itself. There is an overabundance of choices and constantly exposing myself to these reactions helps with what images I choose to take.

My sketchbook has allowed me to study the images I have taken more closely. I am able to create a more tangible way of displaying the act of looking and choosing. Physically interacting with the images I have taken has forced me to think about why I was actually taking the pictures in the first place. Once I find these connections in the picture by either drawing on top of them, altering them in some way, I quickly want to get back out in the world to continue capturing those moments. For me the studio is a place where I would be for times personal contemplation or when I have finished a project and am thinking of the next one, otherwise.

I think I make art/take photographs because I have a need to visually express my thoughts in ways that I would not be able to do with words. I have always been interested in abstractly portraying the inner workings of my mind. My photographs are a more conceptual practice that lets me try to show what goes on in the minds of others.

 

 

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Process

Currently my sketchbook is filled with altered photographs. This was the path I thought I wanted to take. Physically altering the image in the “photoshop” world we live is was something that really interested me. The more I altered these pictures that more I realized that I was helping myself “see” physical connections in my images and real world. Ultimately I think the connections, which I made, are something that I want people to find for themselves. As of now I’m sure I can entirely define what I mean by “connections” but I’m hoping I will be able to more clearly state my intentions during the creation of my final pieces. I haven’t yet figured out how/ if I want to incorporate what I am doing in my sketchbook in my final pieces.

 

*images coming soon

 

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ARTIST STATEMENTS

NOEMIE GOUDAL

During the past years, my practice has predominantly focus on the construction of spaces that enable ‘new perspectives’ within the photographic framework. I recently worked on images that explore the invasion of man-made elements into organic landscapes introducing the passionate relationship that societies maintain with the world they live in, their desperate need of exploration and possession. The objects of my images are given alternative uses; like frail vestiges remaining after the passage of passionate societies, both organic and man made inevitably remarry and rebuild new lands…

 

 

 

STEVE GIBSON

My work is an enigmatic association of stream of consciousness. I deconstruct and reconstruct visual relationships as I draw on historical and contemporary visual references. This multi-linear approach allows me the flexibility to reframe the visual references in an intuitive and personal manner. What develops is a contextual ambiguity that comes together in unexpected ways to shape the visual experience. This experience will hopefully queue the viewer to a chronicle that has yet to be interpreted.

 

Conclusion:

I felt both of the statements were good. I thought that Noemies was more straightforward and less convoluted than Steve’s

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3 Artists JAN 23. Assignment

TINTIN COOPER

I found this artist on a blog called beautiful/Decay. I enjoy how she physically alters the image as opposed to using a computer to do it.

NACHO ORMAECHEA

Interested in how Nacho forces the viewer to perceive a person as something more than just skin and bones. In my work I am thinking about ideas of altering reality…the idea of a photo (what we automatically believe to be true) contrasted with drawing or some type of abstract interruption of that reality is something that I might want to per sue.

ADAM FOWLER

The repetitive nature of his work drew me in. I originally saw his work at the Irvine Contemporary.

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