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Posted on April 7, 2021

At the Edge of the Fens
Jacqueline Walters
May 26 – July 9, 2021

Reception/Artist Talk June 3, 2021 7 PM

house behind hedge
© Jacqueline Walters, “At the Edge of the Fens No. 58”
brush
© Jacqueline Walters, “At the Edge of the Fens No. 54”
vine on wall
© Jacqueline Walters, “At the Edge of the Fens No. 39”

bush
© Jacqueline Walters, “At the Edge of the Fens No. 36”
path
© Jacqueline Walters, “At the Edge of the Fens No. 61”
tree
© Jacqueline Walters© Jacqueline Walters, “At the Edge of the Fens No.11”

roof peeking out
© Jacqueline Walters, “At the Edge of the Fens No. 60”
yellow flowers
© Jacqueline Walters, “At the Edge of the Fens No. 31”
brush in front of white house
© Jacqueline Walters, “At the Edge of the Fens No. 22”

yellow tree in front of house
© Jacqueline Walters, “At the Edge of the Fens No.17”
marsh
© Jacqueline Walters, “At the Edge of the Fens No.19”
roof top with chimney
© Jacqueline Walters, “At the Edge of the Fens No. 6”

field
© Jacqueline Walters, “At the Edge of the Fens No. 7”
red bush
© Jacqueline Walters, “At the Edge of the Fens No. 9”
red door
© Jacqueline Walters, “At the Edge of the Fens No. 34”

Statement
I grew up at the edge of the fens. The dark, rich soil of this flat land is forever etched in my heart. Perhaps because I was born in late autumn, each year at this time this landscape calls to me. It is a place I have tried so many times to portray in black and white, thinking color to be a distraction. I discovered the latter was not true.

A fews years ago on my annual visit home all the elements came together to make this series. Seemingly in the space of a few weeks my work was done. However, this was far from true.  My projects do not materialize out of thin air. They first linger in the far reaches of my mind. They are the result of looking, and looking again over an extended period of time.

Ultimately, I discovered that what drew me to this landscape is its quiet beauty. It is not a place of grand vistas. It is a place of everyday walks. It is the experience of seeing a splash of yellow in the midst of brown, or watching the dance of red and yellow between green. It is the punctuation of a blue door behind tangled vines, or a bold red door juxtaposed to a post of white. This series is an attempt to capture the extraordinary in the ordinary, and to delight in the music of color whether in nature’s sculptural elements or human.

Bio
Born in Cambridge, England, Jacqueline Walters is a fine art photographer based in San Francisco. Since 2009 her work has been exhibited in the San Francisco Bay Area at Corden|Potts Gallery, Rayko Photo Center, Santa Clara University, and The Center for Photographic Arts; in Oregon at LightBox Photographic Gallery; in New York at the SOHO Photo Gallery; in Massachusetts at the Griffin Museum of Photography; as well as many other galleries in the United States, and internationally at the Complesso Monumentale del San Giovanni, Catanzaro, Italy, and The 11th Shanghai International Photographic Festival: Invitation Exhibition, Shanghai, China. Her work has been published in SHOTS magazine, Black and White Magazine, and AAP Magazine. Jacqueline’s work is part of private collections nationally and internationally.

Hear Jacqueline in her own words and see images from her series At the Edge of the Fens

View Jacqueline Walters Website

Mark Feeney, photo critic of The Boston Globe reviews our current exhibitions at the Griffin.

What Will You Remember

Video of reading statement

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Floor Plan

Amy Rindskopf's Terra Novus

At the market, I pick each one up, pulled in by the shapes as they sit together, waiting. I feel its heft in my hand, enjoy the textures of the skin or peel, and begin to look closer and closer. The patterns on each individual surface marks them as distinct. I push further still, discovering territory unseen by the casual observer, a new land. I am like a satellite orbiting a distant planet, taking the first-ever images of this newly envisioned place.

This project started as an homage to Edward Weston’s Pepper No. 30 (I am, ironically, allergic to peppers). As I looked for my subject matter at the market, I found that I wasn’t drawn to just one single fruit or vegetable. There were so many choices, appealing to both hand and eye. I decided to print in black and white to help make the images visually more about the shapes, and not about guessing which fruit is smoothest, which vegetable is greenest.

Artistic Purpose/Intent

Artistic Purpose/Intent

Tricia Gahagan

 

Photography has been paramount in my personal path of healing from disease and

connecting with consciousness. The intention of my work is to overcome the limits of the

mind and engage the spirit. Like a Zen koan, my images are paradoxes hidden in plain

sight. They are intended to be sat with meditatively, eventually revealing greater truths

about the world and about one’s self.

 

John Chervinsky’s photography is a testament to pensive work without simple answers;

it connects by encouraging discovery and altering perspectives. I see this scholarship

as a potential to continue his legacy and evolve the boundaries of how photography can

explore the human condition.

 

Growing my artistic skill and voice as an emerging photographer is critical, I see this as

a rare opportunity to strengthen my foundation and transition towards an established

and influential future. I am thirsty to engage viewers and provide a transformative

experience through my work. I have been honing my current project and building a plan

for its complete execution. The incredible Griffin community of mentors and the

generous funds would be instrumental for its development. I deeply recognize the

hallmark moment this could be for the introduction of the work. Thank you for providing

this incredible opportunity for budding visions and artists that know they have something

greater to share with the world.

Fran Forman RSVP