We had the opportunity to speak the 2024 winner of the John Chervinsky Emerging Photographer Scholarship, Bridget Jourgensen. Her exploration of solitude, light and composition in her series Homeshadows captivated this year’s jury to earn her a monetary award, an upcoming exhibition and artist talk at the Griffin Museum as well as a volume from the collection of photographer John Chervinsky.
A Q&A with the artist follows.
Homeshadows was your first intentional series and attempt at cohesive storytelling through images. What was it about shadows (and light) that led you to produce this series?
I think the shadows found me, leading me on an unexpected journey. I first noticed them the day I moved into our 300 year-old home and they caught my attention right away. After a few weeks of observing, I decided to document them. I began to note the best times of day and would actively look for them, captivated by their shifting forms. Not yet knowing how the seasons would transform the interplay of shadow and light, I felt committed to capturing the year’s passage through images. The old, paned windows in my home added a playful geometry to some of the shots, and the mature trees provided movement. I started positioning myself in the path of light which created a bit of tension and mystery to the images that I found appealing. I came to understand the sun path and rhythm of the house very well. Throughout the year, I worked to capture the layers, texture, and mood of these moments. I also wanted to cultivate a feeling of ‘home’ by including glimpses of personal items—a pillow, a fan, a matchbox—that grounded the scenes in the simplicity of daily life.
Almost five years have passed since the height of the pandemic. Where are you now creatively?
That’s a tough question because my feelings about artistic direction and the creative process can shift daily. Some days, I feel a lack of inspiration. On others, I’m overflowing with ideas and energy. Recently, alongside preparing for my upcoming exhibit at the Griffin Museum, I’ve been coordinating work for two additional exhibits here in Providence which have demanded considerable time and effort. As a result, I haven’t had my camera out as much as usual. I’m really looking forward to getting back to shooting in January, with a fresh focus and renewed creativity.
Congratulations on your first solo exhibition! What is the most exciting part about having an upcoming exhibition at the museum?
So much about it excites me. Above all, it’s an honor to have my work recognized by the museum—it feels both affirming and humbling. As an emerging artist, I’m learning much about presenting and discussing my work, coordinating with others, and navigating the professional art world. This experience has been invaluable, and I’m grateful to everyone at the museum who has supported me along the way. The exhibition will give me the confidence to move forward with a greater sense of focus and professionalism. It is a very proud moment for me, and for my family and friends as well.
How have you been preparing for the show?
I began by revisiting the images for the show, making sure each one was properly edited. Once I was satisfied, I started to work with a local printer, but soon realized they weren’t the best fit for this project. I then moved to a second printer, and after several test prints and revisions, I am delighted with the results we achieved.
Next, I brought the work to the framer, where we made further decisions about the final presentation. To help with print size and framing choices, I visited the Griffin Gallery twice, simply to get a feel for the space where my work will be displayed. I’ve also been attending artists’ talks, speaking with other artists about their own exhibition experiences, and gathering tips and feedback. These insights are helping me prepare for and deliver what I hope will be a captivating exhibit and gallery talk for the museum.
Looking at the work of John Chervisnky, do you find any similarities between your oeuvres?
Such an interesting question. John was known for works that explored the concept of time and perspective, and it seems that he approached his craft in an extremely precise and academic way. In the case of my project Homeshadows, you could say that it, too, is an exploration of time and perspective, so I see a strong similarity there. I also appreciate that John, like me, was self-taught in the art of photography and had a full and successful career for years before deciding to devote himself to his craft. And it’s not lost on me that we both had our first solo exhibition at the Griffin Museum.
What’s in store for you in terms of art-making?
I’m eager to continue a project I started last year and will be working on in the coming months. The series will be a collection of images featuring solitary figures—women or possibly young girls—in a wooded setting, each incorporating fabric or netting as a prominent element in the composition. I don’t want to reveal too much just yet!
In addition, as an exhibiting member of the Providence Art Club, I participate in both member and juried shows throughout the year. When time allows, I like to take classes and attend workshops to develop my craft. There’s plenty to keep me busy.
Finally, has there been an exhibition at the Griffin Museum that you’ve really enjoyed and you’d like to recommend?
I discovered the Griffin Museum about 20 years ago when I was introduced to it by a friend. At the time, I was living in Lynn, Massachusetts, and would visit the museum once a year or so to see the latest exhibits. The Griffin is truly special—not just for its unique architecture and history, but for its dynamic and ever-evolving programs and exhibits. Since moving to Providence, I don’t visit in person as often, but I stay engaged with what’s happening there. I was especially captivated by the Artificial Intelligence exhibit, particularly Phillip Toledano’s Another America project. Lynne Breitfeller’s After the Fire: Water Damaged, which I saw in person, was hauntingly beautiful and left a lasting impression on me.
