Griffin Museum of Photography

Life Narrated by Nature

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Statement
What if we were able to let go of our egos, to believe we are one small part of the natural world, taking what we need instead of all we can get, giving all we can so all the other species of flora and fauna on this precious Earth can live, too? I walk in the shade of trees, in meadows and alongside streams and on mountaintops, listening to birds and insects and coyotes and the wind and sometimes silence, smelling green, dirt, rocks, the ocean, the deer that bedded down in the leaves the night before, feeling the sun and snow — and I feel happy and so lucky to be here. This is how I survive the news of the day. It’s what I need, and what we all really need in our lonely, disconnected souls:  to open our arms to the Earth’s wonders, to wrap our hearts around the solace it offers, to tread gingerly, paying attention, with gratitude.

Photographs in this exhibit include work from the projects “Liable to Disappear” and “We are everything, we are nothing,” and are printed by the artist with archival pigment on gampi with gold leaf and gold/palladium leaf. 

About Rhonda Lashley Lopez – 
Rhonda Lashley Lopez began printing with platinum/palladium and gold leaf in 2009 and since that time has experimented with a multitude of papers and ways of printing that help convey her messages based on a life narrated by nature.

She began working seriously in photography while earning a master’s degree, specializing in photojournalism, at UT Austin. Back then, she shot with film and printed in the darkroom. She worked in newspapers, as photographer, writer and editor, and completed a documentary photo book, Don’t Make Me Go to Town: Ranchwomen of the Texas Hill Country, published by UT Press in 2011. She taught journalism and photojournalism in college settings and worked as an editor at Austin Monthly.

After the publication of the book, which coincided with personal joys and tragedies and a move to a tiny town in the Rocky Mountains, she decided to pursue a different kind of photography, something more expressive and personal. In that quiet space, surrounded by trees and mountains, she was able to give voice, through photography, to her experiences.

A book of Lashley Lopez’ work is being published this year by Datz Press in an edition of 100 handmade books, with a special edition of 20 to follow.

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Exhibits and Honors
Upcoming: Monograph to be published by Datz Press in September 2021

Upcoming: Griffin Museum of Photography, solo exhibit, September – October 2021

Publication of photos from “Liable to Disappear” by Emergence Magazine, accompanying articles by Terry Tempest Williams and Lucy Jones – 2020

Datz Museum, Seoul, South Korea: “Philosopher’s Stone,” four-person exhibit, through August 2020

Truth and Beauty Gallery, Vancouver, online gallery solo exhibit, March – April 2020

Center for Creative Photography “Qualities of Light” exhibition and inclusion in permanent collection, Dec. 2019 – May 2020

Photography at Oregon, Eugene, two-person exhibit, Dec. 2019 – Jan. 2020

Center for Photographic Art, Carmel, International Juried Exhibition, Nov. 2019 – Jan. 2020

Work selected for Diffusion X photography publication, 2020

IPA International Photo Awards, honorable mention in professional categories: fine art, nature and editorial-environmental, 2019

Shortlisted for Hariban Award, International Collotype Competition, 2019

Artist’s books on exhibit at Griffin Museum of Photography in Winchester, Mass., 2019

13th Julia Margaret Cameron Award for Women Photographers, honorable mentions for fine art, nature and alternative processes, 2019

Critical Mass 200 finalist, 2018

Griffin Museum of Photography, 24th Annual Members’ Juried Exhibition, July- September 2018

Scott Nichols Gallery, San Francisco, group show, March-April 2018

PhotoPlace Gallery, Middlebury, Vermont, group show, June 2018

Center for Photographic Art, online group show, first place award, 2018

Curatorial Work
I curated a number of shows at Photography 414 in Fredericksburg, Texas, including an exhibit of Imogen Cunningham’s photographs, which included copies of correspondence between the artist and fellow photographers Ansel Adams, Minor White and others. —

Documentary Work
Publication of Don’t Make Me Go to Town: Ranchwomen of the Texas Hill Country, University of Texas Press, 2011; a documentary work with interviews and photographs Bullock Museum of Texas History, Austin, Texas, talk and book signing, 2017 Schreiner Museum, Kerrville, Texas, talk, print exhibit, book signing, 2011 Schreiner University, Kerrville, Texas, talk, print exhibit, book signing, 2011 Texas Book Festival, featured speaker and book signing, 2011 Texas Humanities Book Fair, 2011 Women’s conference, Hondo, Texas, featured speaker and book signing, 2011 Photography 414, Fredericksburg, Texas, individual show, Don’t Make Me Go to Town, platinum prints, 2009 Numerous other talks and book signings associated with Don’t Make Me Go to Town 

Journalism
I worked in newspapers and magazines in Texas on and off from the late 1980s to 2009, and worked at every editorial job, beginning as a writer of birth announcements and fishing reports to layout to photographer, photo editor, web editor, features editor, copy editor and finally managing editor.

Teaching
I taught journalism and photojournalism at Schreiner University in Kerrville, Texas, and journalism at Austin Community College. (In my earlier career I taught special education in public elementary and high schools, and GED classes in my community.)

EDUCATION

M.A. Journalism: Photojournalism The University of Texas, Austin, 1996

B.S. Education, Elementary and Special Education Texas A&M University, Kingsville, 1984, cum laude 

View Rhonda Lashley’s Website.

Autobiography

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Statement

Artist Book, 3.5”x4” closed, 1 of 3 unique editions

Autobiography is a word and image accordion book started as a b&w film self-portrait series. When I saw a narrative of growth and hope, it became a book. I’m drawn to accordion books by their likeness to miniature gallery walls. Even tiny accordion books make the viewer feel as though they’re walking through them, as their eyes move along the accordion to experience them when fully open. In this book I also considered rhythm and musicality to aid in this movement between images.

 

Bio
Elizabeth Buckley is a photography based Artist-Educator, whose current preoccupations are image sequencing, assemblage, social and cultural considerations and humor. She often presents her work in handmade artist books and installations. In addition to digital photography, she has also worked in graphic design, set design for theatre, and enjoys mixed media and experimental photographic processes. Buckley has exhibited her work nationally. Most recently, Buckley taught Digital Imaging, Illustration, and InDesign to Fashion Communication and Merchandising Students at Lasell College. In the past, she taught extensively in the Photography & Media Arts Dept. at Chester College of New England (Chester, NH). The highlights of her time there was facilitating a study
abroad residency in Ireland at the Burren College of Art (Ballyvaughan, County Clare), and guiding advanced students in Directed Study projects. Buckley earned her MFA in Interdisciplinary Art from Goddard College (Plainfield VT) in 2005, which informs her current art practice and teaching. She also holds a BA in Photography from Salem State University (Salem MA).

Elizabeth Buckley teaches the Photography Atelier beginning in the Fall 2021.

A Place I Never Knew

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Statement
For this series, I traveled to one of the last Muslim-ruled princely states in India, also my family’s ancestral home.

Rampur is a small city four hours north of Delhi that many Indians have never heard of.  The city has the highest Muslim population in Uttar Pradesh, India’s most populous and poorest state. According to the 2011 census, just half Rampur’s 2.3 million residents can read.

The city has seen better times. It has also seen worse.  Rampur’s former rulers, called Nawabs, constructed palaces, mosques, and a fort. The Nawabs valued culture: They cultivated music, collected books, listened to poetry, developed cuisine. They also ruled with clenched fists, ready to punish those who dared defy them — and also those who did not. My grandfather, head physician to Nawab Raza Ali Khan, was sent to London to continue his medical studies. Later, he was told not return.

For this project, I returned to India to discover a city, culture, and country that I never knew. My family’s ties to the city intrigued me. I visited my uncle, who still lives in the family home. I read early 20th century texts and learned that Pathans, my family’s ethnic lineage, were considered a warrior race, admired — and vilified.

My photographs explore the city’s architecture, people, and play with the formality of Indian-style portraiture popular during the pre-world war era. This series explores the history of the city, and also its present state, existing under the shadow of Hindu nationalism. -TK

Bio
Tira Khan’s photographs explore the meaning of family, the formal and informal moment, and the architecture of place. Her images are often personal, and she finds that elements of our daily lives often reflect broad, universal themes.

Tira enjoys shooting straight from the camera, as well as pushing the bounds of what is a photograph. Her images include documentary and collage.

Tira was recently invited to exhibit in the Photographic Resource Center’s 25th Annual Exposure Exhibition, juried by Kris Graves. Her work was previously selected for Exposure by Christopher Rauschenberg.  Two of her photographic series were finalists in Critical Mass, Photolucida’s national photography contest.  She has exhibited her work nationally, as well as Athens, Greece, and Barcelona, Spain. Her Growing Up Girl series has been featured in Der Spiegel, Lenscratch, and Musee Magazine. In addition, her documentary photographs have been published in the The Boston Globe, and The New York Times Lens Blog.

As an editorial photographer, Tira has worked for Bloomberg Businessweek, The Washington Post, The Wall Street Journal, Woz, Teen Vogue, and The Seattle Times. She began her career as a writer, working as a staff reporter at daily newspapers.

A selection of her photographs were published in We Who March, a book on the 2017 Women’s March.

View Tira Khan’s website.

Blue Morphs

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Statement
Started during my artist-in-residence in upstate New York in July 2019, these series build on my experiments of layering cyanotype techniques with overprinting and inks to reveal a deeper meaning. Working intuitively, I add acrylic paints and brush marks to achieve a rich tapestry that hovers between figurative form and fluid abstract shapes. Thus, the photographs transform into complex organic life forms not unlike the ever-shifting appearance of the Blue Morpho butterfly that inspired the name of this body of work.

An exploration of form, line and color, these meditations in cyanotype and acrylic are foremost about a melding of deliberate photography and expressive painterly gestures. During the pandemic-enforced solitude of 2020, however, the intent of the series morphed as well, to focus increasingly on my environmental and societal concerns, while maintaining the style and technique of the series. Contemplating each fresh cyanotype, a shape might remind me of a specific problem; I would then interact with the piece as if to write an essay with paint and pen.

Bio
I’m a photographer with a background in science and a love for conceptual work.

Environmental and social issues became a focus of my photographic practice during an artist-in-residence at Stone Quarry Hill Art Park in Cazenovia, NY. My series ‘Gaia,’ which takes on environmental destruction, was completed later that same year and was exhibited in ReachArts Gallery, Swampscott, MA.

During the summer of 2020, I continued to investigate how to personally engage with important social issues. My photos of local decisive events surrounding political and pandemic flashpoints led to a window installation (‘Facts of Life’, GALA – Galleries at Lynn Arts – in downtown Lynn, MA). Between December 2020 and March 2021, I worked on and was solely responsible for a process art installation called ‘Metamorphosis XX’ (also at GALA). This full-room immersive installation focused on harnessing and celebrating mental resilience and strength in the face of the pandemic.

I have previously had solo exhibits in 2017 at ReachArts Gallery, Swampscott, MA (2017), and at Marblehead Arts Association in Marblehead, MA (2019). My work has been featured in The Daily Item newspaper (Lynn, MA), Marblehead Wicked Local newspaper, 01907 The Magazine (Swampscott lifestyle magazine), Photofan (French photography magazine) and several other publications. I am currently a board member of the local non-profit Galleries at Lynn Arts and I am in my second year of leading a group on Creative Photography for the Greater Lynn Photographic Association. – ST

 

 

View Stefanie’s website.

Envisioning Solitude

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Statement
I am interested in edges and intersections of transformation where one thing moves inexorably to become something else. When is the moment when love fades into anger and resentment; when disillusionment erupts into a violent uprising; when order descends into chaos? And when is the moment when war turns towards peace; unbearable grief shifts towards acceptance; or when pain gives way to relief?

In my professional practice I have witnessed the transformation of the human spirit. I am in awe of resilient clients who pick up the pieces of a broken life and find a regenerated purpose.

In this series: Envisioning Solitude, I seek out close-up views of known objects to reveal patterns of color, texture and form, then capture these images and layer them together to create objects of meditation on that transformative process.  Central to this series is the image of the moon – a solitary celestial body reflecting the light of the sun. In mythology the moon is alternately a symbol of love, desire, change, passion, fertility, insanity, and violence. Often associated with the feminine, the nighttime illumination provided by the moon offers us a different perspective and cause for reflection.

Bio
Vicky’s fascination with photography began at an early age. Her father was an amateur photographer and her mother a painter and pianist. From an early age she was immersed in the arts. She got her first Brownie camera at age 8 and began shooting everything she saw. Watching the magic of an image emerge from the developing tray in her dad’s darkroom; spending afternoons lying under the baby grand piano with waves of sound resonating around and through her; texture, pattern, fluidity, and change – these are the earliest influences and they continue to unfold in her work.

Vicky has lived in Tucson since 1976 when she moved here to pursue a Master’s Degree in Counseling at the University of Arizona. When she retired from a long career in counseling, she turned her attention to photography, ultimately finding her niche in photographing natural subjects. Her work with a close-up lens reflects a unique eye for composition and form. Vicky’s work hangs in galleries, as well as in private and corporate collections from Vermont to Oregon. Her work has been featured at Waxlander Gallery in Santa Fe, PhotoPlace Gallery in Middlebury VT and Afterimage Gallery in Dallas. She has representation through Cynthia Byrnes Contemporary Art in New York. Since 2009, 13 of Vicky’s series have received honorable mentions from the International Photography Awards. In 2015 she was selected for ASMP’s Best of 2015 (American Society of Media Professionals) and a Silver Award from the Tokyo International Foto Awards in 2019.

View Vicky’s Website.

Watching the Ice Melt

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About Watching the Ice Melt

Watching The Ice Melt is a body of work utilizing cameraless abstraction with the cyanotype process to address issues of climate change through themes of glacial ice melt, memory, and loss. This work asks the viewer to consider the urgency of the climate crisis, even when faced with a global pandemic and social unrest.

Over the past several years, as I watched reports of the climate crisis getting worse, pushing past the point of no return, with extreme weather events, floods, wildfires, rising global temperatures, and more … I felt helpless. I started to create abstract images of various forms of ordinary ice melting on sensitized cyanotype paper to process my feelings. I watched the ice melt by the heat of the sun, the resulting water mixing with the chemistry, swirling and pooling, thinking of the massive mountain glaciers rapidly disappearing, sea levels rising, things that have been and will never be again, of a changing planet that will be my children’s future.

The images from this project have been described as haunting, a word that adequately describes the disappearing glaciers and this dying planet. They are cameraless abstractions utilizing elemental sources such as ice and the sun in conjunction with the 19th-century cyanotype photographic process.

This project has been generously supported by the A.R.T. Fellowship from the Berkshire Taconic Foundation.

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Bio
Zachary P. Stephens (b. Brattleboro, VT, 1983) is a visual artist and educator specializing in photographic processes.

He received his MFA in Visual Art from the Vermont College of Fine Arts and a certificate in professional photography from the Hallmark Institute of Photography. Before dedicating his life to art and arts education, he was a professional photojournalist with work appearing in; The New York Times, The Boston Globe, USA Today, The Burlington Free Press, Vermont Life Magazine, The Brattleboro Reformer, and many more.

His work has been exhibited nationally and internationally with the Photographic Exploration Project in Berlin, Germany, Gabba Gallery in Los Angeles, CA, Candela Gallery in Richmond, VA, Woody Gaddis Photographic Arts Gallery in Oklahoma, Kayafas Gallery in Boston, MA, Dianich Gallery in Brattleboro, VT, and the Snyder Gallery in Marlboro, VT. Stephens was also recently named a finalist in Photolucida’s 2020 Critical Mass and awarded the A.R.T. Fellowship from the Berkshire Taconic Foundation.

Currently, he is an adjunct professor of photography at Springfield College and Franklin Pierce University. Additionally, he has taught at Keene State College, Landmark College, the Community College of Vermont, The Putney School, and the In-Sight Photography Project. He is an active member of the Society for Photographic Education.

View Zachary’s Website.

Dylan Everett

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Statement
The preface to Oscar Wilde’s The Picture of Dorian Gray is a series of aphorisms about art and beauty, including the declaration that “all art is at once surface and symbol.” If all art is at once surface and symbol, I create symbolic surfaces. Through the use of photo-collage, still life, and re-photography, my pictures collapse figure and ground into surface. Drawing from a range of references – my personal life, literature, art, pop culture – and cultural signifiers, these surfaces are loaded with symbols. The viewer is invited to decode these symbols, or at least to try. The symbols in my images often function as homages to the people and things that I love or admire: LGBTQ-identified creative figures, gay icons, and personal relationships. In one instance, this manifests as a room constructed of cyanotypes inspired by John Dugdale; in another, a grisaille room winks to George Platt Lynes’ black-and-white male nudes that remained hidden until after his death; rose wallpaper hints at the titular setting of James Baldwin’s Giovanni’s Room. This series of homages is held together by an aesthetic that strips away any sense of hierarchy among cultural signifiers. In my fabricated spaces, there is no distinction between highbrow and lowbrow, personal or famous, historical or contemporary. The resulting photographs are layered, symbolic works that simultaneously speak to contemporary art and culture, while questioning classic ideas of taste, sensuality, and beauty.

Project Statement
As this project has progressed, my studio constructions have grown more elaborate: I have been creating photographic “rooms.” This began with Blue Room (2019), constructed from re-photographed cyanotypes in homage to John Dugdale. Another photograph, titled Rose Room (2019), was loosely inspired by the haunting descriptions of the titular setting of James Baldwin’s novel Giovanni’s Room. Yet another (Grey Room [2019]) winks to George Platt Lynes’ black-and-white male nudes, which remained largely hidden until after his death. These rooms play with classic tropes of beauty and decor while also layering in various personal and cultural references.

Bio
b. 1994   —   Dylan Everett (b. 1994 in New Jersey) is an artist/photographer working with still life and photo collage. He received an MFA in Photography from the Rhode Island School of Design in 2019, and a BA in Visual Art from Brown University in 2016. In 2020 he was a recipient of the West Collection LIFTS Grant and Acquisition Award; he was previously awarded the Digital Silver Imaging Portfolio Prize in 2018, and was named second place for the 2019 Lenscratch Student Prize.

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Education
2019 MFA, Photography, Rhode Island School of Design, Providence, RI

2016 BA, Visual Art, Brown University, Providence, RI

Exhibitions
2021 Photography is Dead – Candela Gallery, Richmond, VA

2020 Fear Environmental Mayhem Ahead – The Icebox Project Space, Philadelphia, PA

2019 The Curated Fridge Autumn 2019 Show – The Curated Fridge, Somerville, MA

In Close Range – ClampArt, New York, NY

Graduate Thesis Exhibition – Rhode Island Convention Center, Providence, RI

2018 New Photography – Sol Koffler Gallery, Providence, RI

2017 Photography Triennial – Woods Gerry Gallery, Providence, RI

2016 2nd PULP Showcase – FotoFilmic, Bowen Island, BC, Canada

Vanitas – LoosenArt LAB-A, Cagliari, Italy

Performing Decay – The Open Aperture Gallery, Newport, RI

Spring Arts Festival – Granoff Center for the Creative Arts, Providence, RI

36th Annual Juried Student Exhibition – David Winton Bell Gallery, Providence, RI

2015 Accretion/Avulsion (solo) – Granoff Center for the Creative Arts, Providence, RI

35th Annual Juried Student Exhibition – David Winton Bell Gallery, Providence, RI

2013 Rising Waters 2.0: More Photographs of Sandy – Museum of the City of New York, NY

Grants/Awards
2020 LIFTS Grant and Acquisition Award – West Collection

2019 Lenscratch Student Prize, Second Place

2018 DSI Portfolio Award – Digital Silver Imaging

Graduate Student Project Grant – Rhode Island School of Design

Graduate Fellowship – Rhode Island School of Design

2017 Graduate Fellowship – Rhode Island School of Design

2016 Seventh Annual Manifest Prize Semi-Finalist – Manifest Gallery

Minnie Helen Hicks Award for Excellence in Visual Arts – Brown University

Round 4 Juried Showcase Winner – ArtSlant

Acquisition Award Shortlist – The Annex Collection

Marlene Malik Award – Brown University

Julie Sloane Memorial Fund Award – Brown University

Creative Arts Council Grant – Brown University

2015 Creative Arts Council Grant – Brown University

Publications and Press
2021 Photography is Dead, Candela Gallery

“LIFTS Recipient: Dylan Everett,” West Collection

“Portfolio Feature: Dylan Everett,” Float Magazine

“Dylan Everett,” Yolanda Josef  Projects

2019 “2019 Lenscratch Student Prize: Second Place,” Lenscratch

2018 Manifest Exhibition Annual, Season 13 – Manifest Gallery, v.1 – Rhode Island School of Design

View Dylan Everett’s Website

Splash

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Splash implies a summer frolic at the beach but what else can you think of?  A fountain, a swath of color, a sound, a mermaid? Thirty-nine photographers weigh in on their interpretation of the topic.

Splash comes out of what we see as a universal need to rejuvenate after over a year of hardship. We wanted to celebrate the cycles of seasons as Summer follows Spring. We wanted to foster emotional healing while using the photograph as a vehicle to release anguish caused by great losses and by over a year of isolation. What better way to unleash creative juices for the artists and the viewer. There is always the connection of seeing artwork in context to past experience. We wanted joyous memories to flood the imagination.

We asked the photographers to think about the meaning of “Splash.” We  received a variety of answers many of which involve water. Hopefully we engage the audience to imagine their past and future “Splash” moments and hope that more than a “Belly Flop” comes to mind.

The photographers of Splash are: Federica Armstrong, Jan Arrigo, Gary Beeber, Meg Birnbaum, Norm Borden, Sally Bousquet, Lora Brody, Joy Bush, Richard Alan Cohen, L. Aviva Diamond, Alex Djordjevic, Steven Edson, Miren Etcheverry, Kev Filmore, Jennifer Greenburg, Maureen Halderman, Carol Isaak, Leslie Jean-Bart, Roger Carl Johanson, Susan Lapides, Susan Lirakis, Joyce P. Lopez, Bruce Magnuson, Landry Major, Carol Mathieson, Meryl Meisler, Olga Merrill, Judith Montminy, Rita Nannini, Richard O’Neill, Jaye Phillips, Ann Rosen, Susan Rosenberg Jones, Russ Rowland, Sarah Schorr, Vicky Stromee, Neelakantan Sunder, Kiyomi Yatsuhashi and Dianne Yudelson.

 

What Will You Remember Best Photo Picks June 21

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Virtual Exhibition to Accompany the 27th Juried Exhibition

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The photographers that will be exhibited on a computer in the gallery during the 27th Juried Exhibition and exhibited in the Critic’s Pick Gallery on-line and released to Instagram are:

Hannah Altman, Norman Aragones, K Linnea Backe, Gary Beeber, Sheri Lynn Behr, Debra Bilow, Diana Bloomfield, Edward Boches, Sally Bousquet, Annette LeMay Burke, Valerie Burke, Ken Cashon, Wen-Han Chang, Sally Chapman, Pamela Chipman, Gina Cholick, Gigi Chung, Jacob Clayton, Marcy Cohen, David Comora, Cathy Cone, Anne Connor, Matthew Conti, Donna Dangott, Susan DeLeo, L. Aviva Diamond, Laura Dodson, Barbara Dombach, Ellen Feldman, Diane Fenster, Kev Filmore, Fran Forman, Nicholas Gaffney, Beth Galton, Katie Golobic, Bill Gore, Paul Greenberg, Michal Greenboim, Marsha Guggenheim, Juliet Haas, Law Hamilton, William Hamlin, Dave Hanson, Nadia Haq, Pamela Heemskerk, Diane Hemingway, Keiko Hiromi, Emma Hopson, Evy Huppert, Jeannie Hutchins, Deborah Kaplan, Deborah Kidder, Sandra Klein, Karen Klinedinst, Eric Kunsman, Molly Lamb, Susan Lapides, Stephen Levin, Elizabeth Libert, Susan Lirakis, Rhonda Lashley Lopez, Joyce Lopez, Lawrence Manning, Shinya Masuda, Mahala Mazerov, Coco McCabe, Julie McCarthy, Jennifer McClure, Eric McCollum, Lisa McCord, Vicki McKenna, C.E. Morse, Nancy Nichols, Scott Offen, Denise Orlin, Rolando Palacio, Christos Palios, Marcy Palmer, Zoe Perry-Wood, Jaye Phillips, Wendy Ploger, Mary Quin, Suzanne Révy, Susan Rosenberg Jones, Claudia Ruiz Gustafson, Jacque Rupp, Elizabeth Ryan, Gail Samuelson, Daryl-Ann Saunders, Elliot Schildkrout, Charlotte Schmid-Maybach, Sarah Schorr, Paula Shur, John Slepian, Susan Swirsley, Jane Szabo, Martha Wakefield, Melanie Walker, Dawn Watson, Caren Winnall, Jane Yudelman, Sam Zalutsky and Hao Zhang.

On Tenterhooks

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Statement
On Tenterhooks is a single-edition, handmade accordion book.

To be on tenterhooks is to wait nervously for something to happen. Anxiety is a fracturing process that takes our world’s structure and splits it, tearing what we understand into cross sections of confusion and panic. The book fractures the images into a distorted jumble, forcing you to contort your body into a new position to clearly see the images. The audience must meet the book halfway to view it correctly, a connection that was purposely made to symbolize how difficult it can be to understand anxiety from the outside.

About
Jordan Funk is a Photographic Artist currently based in Rochester, NY. She received her MFA in Photography & Related Media from the Rochester Institute of Technology and her BFA in Photography and Fine Art from Texas Woman’s University. Her work explores our complex understanding of identity and focuses on how photography connects us to images.

View Jordan Funk’s website.

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