new project--"The last rose of summer on my night stand"
installation study, "The last rose of summer on my nightstand" (everything)
dimensions variable
2007
'Last rose' detail
'Last rose' detail #2
'Last rose' detail #3 (features installation title image at approximate center of installation)
this is the first stab at a project statement:
The last rose of summer on my night stand
Inspired by the back of a vintage snapshot found in spring 2007, the project The last rose of summer on my night stand examines the way we see, think, record, and live with our own images.
Installations, consisting from 2 to 150 images, are comprised of photographs mounted image-facing-the-wall. The audience is left with text the photographer (or family archivist) has written on the back of the image. The text on the rear of the image becomes the conflation of the sign, signifier, and referent, creating new meanings not only for the images, but for the notion of reading images. By curating the text-images into installations, I trace a continuum from large installations open to nebulous networks of meaning to smaller, theme-based groupings that mine shared sensibilities of image genres and text characteristics.
Sentiment begins and ends this project, as the viewer is always tied to text-images removed from their original creator and recorder, vestiges of our compulsion to record…
dimensions variable
2007
'Last rose' detail
'Last rose' detail #2
'Last rose' detail #3 (features installation title image at approximate center of installation)
this is the first stab at a project statement:
The last rose of summer on my night stand
Inspired by the back of a vintage snapshot found in spring 2007, the project The last rose of summer on my night stand examines the way we see, think, record, and live with our own images.
Installations, consisting from 2 to 150 images, are comprised of photographs mounted image-facing-the-wall. The audience is left with text the photographer (or family archivist) has written on the back of the image. The text on the rear of the image becomes the conflation of the sign, signifier, and referent, creating new meanings not only for the images, but for the notion of reading images. By curating the text-images into installations, I trace a continuum from large installations open to nebulous networks of meaning to smaller, theme-based groupings that mine shared sensibilities of image genres and text characteristics.
Sentiment begins and ends this project, as the viewer is always tied to text-images removed from their original creator and recorder, vestiges of our compulsion to record…
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