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Photosynthesis XX

Posted on March 12, 2025

Photosynthesis XX is a collaboration between Burlington High School and Winchester High School facilitated by the Griffin Museum of Photography.

Join us on April 3, 5:30 – 7:30pm for an Artist Reception to celebrate these talented students’ works and meet their instructors and supporters.

This 5-month program connects students with each other and with professional photographers, artists, and curators. Using photography as a visual language, students increase their vocabulary to communicate about themselves and the world around them. Interacting with fellow students from different programs, backgrounds, and schools, the students create a capsule of who they are in this moment, learning from each other to create a united exhibition showcasing all they have learned during the program.

Winchester High School

Isabella Bogovich | Mason Lieberman
Ainsley Porter | Maddie Shonkoff | Bowdie Simpson

© Bowden Simpson
© Bowden Simpson
© Maddie Shonkof
© Maddie Shonkof
© Mason Lieberman
© Mason Lieberman
© Isabella Bogovich
© Isabella Bogovich
© Ainsley Porter
© Ainsley Porter

Burlington High School

Sean Cox | Mackenzie Goldsmith | Taylor Papagno | Emanick Carrasquillo | Olivia Floyd | Maddie Spreadbury | Jillian Noke | Nora McDowell | Naya Ulysse | Grayson Reidy | Alessia Pedruzzi | Emersyn Kirchner

© Naya Ulysse
© Maddie Spreadbury
© Grayson Reidy
© Alessia Pedruzzi
© Taylor Papagno
© Jillian Noke
© Nora McDowell
© Emersyn Kirchner
© Mackenzie Goldsmith
© Olivia Floyd
© Sean Cox
© Carrasquillo Emanick

Elemental Blues: Contemporary Cyanotypes

Posted on March 11, 2025

The Griffin Museum of Photography is pleased to announce Elemental Blues: Contemporary Cyanotypes, an in-person exhibition featuring featuring the works of Anna Leigh Clem, Brett Windham, Bryan Whitney, Julia Whitney Barnes, Sally Chapman and Cynthia Katz. The show features the distinct and innovative works of six New England and Upstate New York-based artists that reveal the versatility of the medium through diverse processes and mixed-media explorations.

This collection of works is on the walls of our satellite location Griffin @ Lafayette City Center Place. Located in Boston’s Downtown Crossing, the address is 2 Ave de Lafayette, Boston, MA 02111 and hours are 6am – 10pm Daily.

Presenting photographs of the Basin Head sand dune system along the Northumberland Strait in Canada, Anna Leigh Clem infuses her eerie landscape with somber drama. Toning her works with foraged botanicals, she creates a tangible connection between each print and the landscape that inspired it.

Brett Day Windham’s delicate watercolor overlays illuminate the unseen rhythms of marine life, rendering fan corals as intricate, arterial compositions that underscore the interconnectedness of all life and consciousness.

Offering an unobstructed glimpse into the unseen, Bryan Whitney unveils the skeletal elegance of flowers through striking cyanotype x-rays. These luminous blueprints expose the intricate structure and delicate beauty inherent in botanical forms.

Cynthia Katz constructs fragmented cyanotypes arranging prints on rectangular grids and diptychs populated by small yet impactful details. The works are a creative approach to abstraction and evoke the elusive nature of memory and dreams.

Julia Whitney Barnes creates lavish and meticulously detailed works on paper, blending watercolor, gouache, ink, and cyanotype. Her pieces, reminiscent of fairy tale sights and sacred geometry, highlight the inherent beauty of our world.

Sally Chapman‘s rhythmic still life compositions capture the diverse objects of our everyday surroundings, creating a unique taxonomy of the organic with the manufactured. Delicate, drawing-like gestures on pastel further swirl through her observations. 

An eclectic representation of cyanotype-making, the artists featured in Elemental Blues explore ideas of visibility and transformation, utilizing cyanotype to reinterpret and reimagine natural and everyday subjects through their techniques.


Julia Whiney Barnes (Born in Newbury, VT) spent two decades in Brooklyn/NYC before moving to the Hudson Valley in 2015. She received a BFA from Parsons School of Design and MFA from Hunter College. Whitney Barnes works in a variety of media from cyanotypes, watercolor, combined media works on paper, oil paintings, glass, ceramic sculptures, murals, site-specific installations, and limited-edition prints. She has exhibited widely in the United States and internationally including the Albany International Airport /Shaker Heritage Society, Albany, New York; Dorksy Museum, New Paltz, NY; Ely Center of Contemporary Art, New Haven, CT; Hancock Shaker Museum, Berkshires, MA; Woodstock Artists Association & Museum (WAAM), Woodstock, NY; Institute of Contemporary Art, Portland, ME; Carrie Haddad Gallery, Hudson, NY; Kenise Barnes Fine Art, Kent, CT; Garvey|Simon NY, New York, NY and Galerie Julian Sander, Cologne, Germany.  Her work is in numerous private and public collections.
Whitney Barnes is the recipient of fellowships from the New York State Council on the Arts, Lower Manhattan Cultural Council, Arts Mid-Hudson, Abbey Memorial Fund for Mural Painting/National Academy of Fine Arts, and the Gowanus Public Art Initiative, among others. She completed two significant commissions in 2024 including an immersive double sided glass artwork for Public Art for Public Schools/NYC Percent for Art in Brooklyn, NY and a room-wide mural for the new Vassar College Institute in Poughkeepsie, NY in 2024.

Sally Chapman is a photographer living in Lowell, MA. After earning a BFA in ceramics and photography from Michigan State University, she worked for over twenty years as a ceramic artist exhibiting widely. When she returned to photography ten years ago, she gravitated towards tactile methods of printing. She discovered 19th century photographic process of cyanotype and the flexibility that hand done processes invite a constant experimentation.

She exhibited in the Griffin Museum 30th Annual Juried Members Show 2024 with Honorable Mention; Soho Photo Gallery National Competition 2023, Honorable Mention; Texas Photographic Society, By Hand: Alternative Processes, Honorable Mention; The Halide Project, Living Image, Grand Prize Winner; A Smith Gallery, Directors Award; 18th Julia Margaret Cameron Awards, Honorable Mention; and Rockport Art Association and Museum National Show. Excellence in Photography Award. 

She has had solo shows at the Soho Photo Gallery, New York, NY; The Halide Project, Philadelphia, PA; Three Stones Gallery, Concord, MA; MIT Rotch Architectural Library, Cambridge, MA; Gallery 93, Brookline, MA; The Sanctuary in Medford, MA; and the Arts League of Lowell, Lowell, MA. 

She has been included in many group shows including at the Griffin Museum, Winchester, MA; Image Flow Gallery, Mill Valley, CA; Soho Photo Gallery, New York, NY; Art Intersection, Gilbert, AZ; Light Space, Silver City, NM; Photo Place Gallery, Middlebury, VT; and the Danforth Museum, Framingham, MA.

Brett Day Windham (born Cambridge, England, raised Providence, Rhode Island) is a multidisciplinary artist currently working with cyanotype. She received a BFA from Hampshire College, a certificate in painting from SACI in Florence, Italy, and an MFA in Sculpture from RISD. Her work has been collected internationally and has been included in shows around the US, including The Barnes Foundation (Philadelphia), Smack Mellon (New York), the RISD Museum (Providence), University of Maine Museum of Art (Bangor), and RMCAD (Denver). Windham received a Dean’s fellowship at RISD and was nominated for the Joan Mitchell MFA Grant. Residencies include The Select Fair Residency (Brooklyn, New York), The Chrysler Museum Glass Studio (Norfolk, Virginia), TSKW (Key West, Florida), Cascina Remondenca (Chiaverano, Italy), and Penland School of Craft. (Penland, North Carolina). Her work has been cited in Art New England, Elle Decor, V Magazine, Hyperallergic, The New York Times, Providence Phoenix, Whitewall Magazine, and The Bangor Daily News.

Anna Leigh Clem is an artist working in photography, text, book arts, video, and other media to investigate the nature of ephemerality. Compelled by the ineffable secrets embedded in memories, dreams, and the natural world, her work makes tangible these otherwise invisible realms. Born in New York in 1990, Clem currently lives and works on the North Shore of Boston and holds a Master of Fine-Arts in photography and integrated media from Lesley University (2021) and a Bachelor of Fine-Arts in photography from Rochester Institute of Technology (2012). Her work has been shown both nationally and internationally, at venues such as Bromfield Gallery, the Center for Photography at Woodstock, Foley Gallery, Visual Studies Workshop, and Elysium Gallery. She has published both trade edition books and artist’s books, several of which are held in collections at The Griffin Museum of Photography, Yale University, SMFA, SVA, and Pratt Institute.

Bryan Whitney is a photographer and artist living and working in New York City whose work often involves experimental imaging techniques, such as x-rays, 3D imagery, virtual reality, and other alternative processes. Whitney holds an MFA in Photography from the Tyler School of Art in Philadelphia and a BA in the Psychology of Art from University of Michigan, Ann Arbor. He has taught photography at Rutgers University and currently teaches at the International Center of Photography in New York City. A recipient of the Fulbright Grant: Lectures on American Photography, he has exhibited across the United States and internationally as well as traveled the globe for special projects, including archeological photo expeditions with the Qatar Museum Authority and the National Agency for Cultural Heritage Preservation, Republic of Georgia. Art exhibitions include various prestigious venues such as the Center for Holography on Governor’s Island, Currents New Media Festival in Santa Fe, the Fringe Art Fair in Johannesburg, South Africa, and the Islamic Museum of Art in Berlin, Germany. His work has appeared in several media outlets such as Martha Stewart, Harpers Bazaar, Fortune, the New York Times, and in books, posters and advertising campaigns worldwide.

Cynthia Katz is an award-winning photo-based artist working in the Boston area. Process and discovery have been guiding forces that link her photographic practice, artist books, and installations. Her work has been shown regionally and nationally, most recently at Three Stones Gallery, Jessica Hagen Gallery, The Danforth Art Museum, The Fitchburg Art Museum, and Soho Photo Gallery in NYC. Katz’s latest recognition includes being named a finalist and a juror’s pick by LensCulture’s 2024 Art Photography Awards. She was awarded the Photography Prize at the 2024 Fitchburg Art Museum’s summer exhibition, and the first prize in Soho Photo Gallery’s Alt Process Competition in 2024. In 2025, she was selected for recognition at Concord Art’s MJ2 exhibit by juror Crista Dix, executive director at the Griffin Museum of Photography. 

Cynthia’s work is published in journals, books and blogs, including Manifest’s International Photography Annual 3, SlowSpace.org and LensCulture. Her presentations include “Handmade Photographs” at the Photographic Resource Center in Boston, Three Stones Gallery and Concord Art. Her work is housed in private collections. 

In addition to her own practice, Katz was a photo educator in settings that included Art Schools, colleges, and independent high schools. She brings that experience to her work as a portfolio consultant, helping people craft portfolios for college, grad school and art school admissions. Katz holds a BFA in Photography from the University of New Hampshire and an MFA in Photography from Bennington College. She maintains a studio at The Umbrella Arts Center in Concord, MA, is represented by Jessica Hagen Gallery in Newport, RI, and she lives in West Concord, MA.

The Griffin @ Lafayette City Center Passageway is located at 2 Ave de Lafayette in Downtown Crossing, Boston. The passageway connects Macy’s, the Lafayette Tower offices and the Hyatt Regency, Boston.

Blue Outtakes: A Cyanotype Collection

Posted on March 10, 2025

Blue Outtakes: A Cyanotype Collection

The Griffin Museum of Photography is committed to providing exposure opportunities for artists through monthly online exhibitions in its Virtual Gallery. While not every submitted photograph fits the curatorial vision for a show, we maintain an active record of noteworthy works that deserve recognition. Here, we highlight a selection of compelling submissions to our Anna Atkins Birthday Extravaganza —cyanotypes that, while perhaps not directly responding to or celebrating Atkins’ botanical achievements, captivate with their unique artistry and vision. The photographs showcase the diversity of subject matter explored by contemporary artists, spanning still life, landscape, and portraiture.

PART I
On the Human Form

  • © Barbara Hazen, Nude Study #24
  • © Ladini Conder, Moon Child
  • © Mckenzie Campas
  • © Barbara Hazen, Nude Study
  • © Eva Erdmann, L’Ame Du Temps
  • © Lena Konstantakou, Nostalgia
  • © Sally Bousquet, I’d Rather Be, 2019
  • © Seth Fields, Karissa The Garde
  • © Charlotte Roger, Ghost
  • © Emma Powell
  • © Phoebe Shuman Goodier, Madelaine
  • © Keshav Bhagat
  • © Jalyn Turner, Untitled
  • © Michael Lennon, Always Be Him
  • © Mila Dorfman, Untitled
  • © Nikki Davidson, Not Falling
  • © Kelly Saylor, CJ By The Water
  • © Katarzyna Kalua, Limpha
  • © Ash Oakley, Ode to the Argonauts
  • © Amy Flatow, Wild Buffalo
  • © Hami Trinh, I Remember You
  • © Evan Murphy, Jacob

Part II
Objects, Forms and Silhouettes

  • © Annabel Dover, Queen Victoria’s Mourning Handkerchief
  • © Nate Ely, Radiolaria
  • © Sara heywood, Found Objects Packaging Label
  • © Pamela Hawkes, Three Shelves
  • © Kathryn Hetzner, Frayed Nation
  • © Laura Ritch, Isolation Gown
  • © Katya de Grunwalkd, Waiting Room
  • © Georg Rigerl , Borsa Blu
  • Chris Byrnes, Walking With the Unknown
  • © Gaby Langlois, Girl Bag 1
  • © Ali Trepanier, Tabbing
  • © Liv Harris, Inside My Head
  • © Reese tanabe, Hopes and Dreams
  • © Sally Ayre, Shoreline Walk
  • © Susan Murie, Voyage
  • © Will Henry, In Passing
  • © Patricia Olivieira, Mantras

PART III
Landscapes

  • © Emily Laux, No Place Like Home
  • © Rachel Urban, Devastation
  • © Susan Sentler, A Folding of Sea of Mountain
  • © Yat Chun Chan, Savannah 531A
  • © Anna Leigh Clem, Teeth Grow in the Heathland
  • © Jess Levey, Nurse Log 1
  • © Lisa Di Donato, Discontinuous Fieldwork, Hechtia Podantha
  • © Tom Finke
  • © Margo Geddes, Streambank

PART IV
Fauna

  • © Anna Walsh
  • © Jo Stapleton
  • © Bob Goldstein
  • © Wout De Ridder
  • © Linda Sukamta
  • © Erin Venville
  • © Samantha Beck, Trascendence

Expanded Cyanotypes: New Directions in Cyanotype Making

Posted on March 10, 2025

The Griffin Museum of Photography is delighted to present Expanded Cyanotypes: New Directions in Cyanotype Making, a sweeping online exhibition surveying the current state of contemporary cyanotype-making. The exhibition presents a selection of over 60 artists working all over the world, each one creating unique works utilizing cyanotype as part of their processes.


Expanded Cyanotypes:
New Directions in Cyanotype Making

Aline Smithson • Alberto Sanchez • Allison Calteux • Ana Avramova-Pesheva • Annalise Neil • Adrienne Defendi • Beatriz Bellorin • Beth Herman Adler • Brett Day Windham • Carolina Baldomá • Clara Zaragoza • Claudia Hollister • Chloe Cusimano • Chloe Sailor • Colton Rothwell • Cynthia Katz • Dana Cohen • Edie Bresler • Elizabeth Stone • Emma Backer • Ebru Çiçek • Fruma Markowitz • Hannah Lamb • Heidi Kirkpatrick • Iris Grimm • Isabella Mayson • Jackie Neale • Javier Hinojosa • Jillian Abir MacMaster • Jim Cokas • Joachim Froese • Jolie Zinn • Julia Whitney Barnes • Julie Hamel • Jyoti Liggin • Kate Flake • Katherine Akey • Kaylee Peters • Karen Klinedinst • Lisa Tang Liu • Lou Sturges Wilson • Margo Duvall • Marna de Wet • Margaret Albaugh • Michelle Westmark Wingard • Morgan Ford Willingham • Natali Barbee-Bravo • Nobuko Murakami • Olga Andriyash • Paulo Accioly Lins de Barros • Rob Croll • Ramona Zordini • Sally Chapman • Shir Melech • Teri Figliuzzi • Tina Vincent • Ute Lindner • Yuchen Wang


© Jackie Neale, Bullet the Blue Sky: Flag 3 Senseless, cyanotype of ammunition and AR-15 imprints on a distressed Valley Forge American Flag, 2020 | United States, Greater Philadelphia

© Ramona Zordini, Who I Am, Tricolor Cyanotype, 9 level of paper collage, Pearl insert, 2025 | Brescia, Italy

© Julie Hamel, Squirrel (with handmade brush), cyanotype painted with a handmade brush made from the squirrel’s fur, paper dyed with acorn tannins, 2019 | Peterborough, United States

© Yuchen Wang, Four Shadows I, cyanotype print on ‘Father and Son’ Comic Book, Sound Installation, Inkjet Print on Handmade Kozo Paper & Matte Paper, 2024 | Providence, RI, USA

© Hari Priya Vangaru, Blue Mind, cyanotype on wood along with stones from the Hudson, 2024 | New York, USA

© Chloe Sailor, Present Looking Past (Acadia), cyanotype, solarfast, and watercolor on quilted yupo and cotton

© Katie Raudenbush, Untitled (i am her, she is me), cyanotype on textile, cloth napkin, quilt batting, embroidery | New York, USA

© Anna Stevenson, Frayed, cyanotype on silk and watercolor paper.

© Heidi Kirkpatrick, Mother in cyanohoop from the Family Service Series, kiln fired custom ceramic decal on vintage Pfaltzgraff dinner plate, 2019 | Portland, Oregon, USA

© Clara Zaragoza, Los Ojos, cyanotype collage, 2023 | Buenos Aires, Argentina

© Allison Calteux, Ellison Women, cyanotype on heirloom doilies, 2023 | Milwaukee, Wisconsin, USA

© Emma Backer, Untitled, cyanotype of paper doilley

© Paulo Accioly Lins de Barros, O que me lembro do interior, braided cyanotype, 2025

© Morgan Ford Willingham, Untitled (Minerva), cyanotype with hand embroidery on found textiles, 2023 | Waco, Texas, USA

© Fruma Markowitz, Gossip In The Mellah, 2024 | Bridgeport, Connecticut, USA

˙ © Alberto Sanchez, TIRANDO PALOMAS, light drawing on canvas, 2025 | Bloomington, Indiana, USA

© Jim Cokas, Ascending (Did She Dream?), cyanotype on muslin with thread, 2024

© Edie Bresler, Anonymous 1843, unique cyanotype with embroidery and colored pencil, 2024 | Somerville, MA, USA

© Colton Rothwell, Orion, cyanotype, canvas, thread, acrylic wash
© Marna de Wet, Fragments, cyanotype and thread on paper, 2023

© Ana Avramova-Pesheva, Side by side, cyanotype collage, Fabriano utica paper and tracing paper

© Nobuko Murakami, In the skin of the sea, cyanotype and cyanotype pieces on wood panel, 2025 | Paris, France

© Margo Duvall, Long Distance, cyanotype and found silver gelatin print

© Jyoti Liggin, I Don’t Want to Touch The Ground, quilt of untoned cyanotype, cyanotype toned with coffee and tannic acid, commercially printed cotton fabric and batting, 2025 | Oakland, California, United States of America

© Aline Smithson, Fugue State Revisited #24, Corrupted Analog Scan with Cyanotype Overlay

© Tina Vincent

© Lisa Tang Liu, “Me” in Red White and Blue, cyanotype and ink on vellum paper, 2023 | Boston, Massachusetts, USA

© Kate Flake, I have begun to distrust my body, cyanotype on cotton, cotton batting, polyfil, cotton and polyester thread, wooden desk, 2024 | Madison, USA

© Hannah Lamb, Accretion, cyanotype and hand stitch on cotton, 2024

© Ute Lindner, Pentimenti (Lions’ Palace), photomontage, caynotype on fabric, 21 feet x 38,7 feet (640cm x 1180 cm), St. Maria Church, Frankfurt/Oder, Germany, 2012-2022

© Elizabeth Stone, Fracture, Installation of 43 camera-less cyanotype prints on notebook paper, 2022

© Rob Croll, Remembered Landscape, cyanotype on cotton

© Dana Cohen, Closet Doors, Closet Doors, cyanotype on 24 mylar panels in repurposed bifold doors

© Carola Baldomá, Untitled, cyanotype on japanese paper (Okamoto: Mitsumata + Zellsoff), 2024

© Joachim Froese, Wollemi Giants, Untitled #1; 56 cyanotype prints, toned in green tea & 56 waxed digital negatives; individual prints: 20 x 25 cm, overall size: 140 x 200 cm unframed each | Brisbane, Australia

© Beatriz Bellorin, Touched by Time from the series [Re] collect, A Botanical Album, installation of 45 4” x 6” and 4 8.5” x 11”, 2024 | Houston, United States

© Cynthia Katz, Standing at Ease, cyanotype on paper, 2025 | Concord, Massachusetts, USA

© Brett Day Windham, Doherty Triptych, Coffee-toned cyanotypes with watercolor, gouache and pen, on hot press watercolor paper, each panel 16 x 20 inches

© Adrienne Defendi, Healing Trees, installation of cyanotype and soil on Rives BRK paper | Palo Alto, California, USA

© Katherine Akey, Weed Out Your Memory, cyanotype toned with coffee, cotton thread, linen, cotton batting, 2024 | San Francisco California, USA

© Teri Figliuzzi, Enchant, cyanotype, printed, woven and stitched, 2023, New York City, USA

© Karen Klinedinst, All Flowers In Time Bend Towards The Sun, cyanotypes on paper and gold leaf on recycled solar panel, 2024 | Baltimore, Maryland, USA

© Claudia Hollister, Enchanted Evening, cyanotype collage backed in stonehenge paper on hardboard, 2024 | Portland, Oregon, USA

© Shir Melech, Cosmos, 2023 | Tel Aviv, Israel

© Michelle Westmark Wingard, ReRooted (Northern white-cedar or Thuja occidentalis), cyanotype on fabric

© Julia Whitney Barnes, Planting Utopia (Shaker Interior), 15.5 feet wide, Watercolor, acrylic and cyanotype on stretched canvas with custom wood frame

© Natali Bravo-Barbee, Flores de Femicidio/Femicide Florals, 327 cyanotype paper flowers on watercolor paper, 13 cyanotype plaques on watercolor paper, glue, string, embellishments, 2019-2021 | New York, USA

© Beth Herman Adler, We Are All Vessels, Cyanotypes of ancient vessels on used cardboard food boxes embellished with gold paint and white charcoal. Installation includes over 100 transformed boxes, 2023

© Annalise Neil, Transformation Through Inquiry, cyanotype, watercolor and cotton string on cotton sateen mounted to panel, 2023 | La Mesa, California, USA

© Javier Hinojosa, ENSAMBLE XXXV, wood box, Cyanotype on Japanese paper, containers with sands from the Gulf of Mexico, Pacific Ocean and Caribbean Sea, Fossil, 2024

© Iris Grimm, LOR(e), cyanotypes inset onto handmade box with removable velvet drawer, petri dishes with hand applied pva, 2024 | Boston, Massachusetts, USA

© Ebru Çiçek, El Azar, cyanotype on glass | Rome, Italy

© Carlotta Valente, Moon, cyanotype on glass with silver backing, 2024 | Rome, Italy

© Kaylee Peters, Hold It Close, cyanotype on recycled box, 2024 | Dayton, Ohio, USA

© Lou Sturges Wilson, Trinkets of a Teenage Girl, Cyanotype on Eggshell

©Olga Andriyash, The body remembers everything, cyanotype of x-ray print, fabric, embroidery, 2024

© Margaret Albaugh, Nurture, cyanotype and embroidery on fabric, 2024

© Isabella Mayson, A Look Inside, 2025

© Clair Case, NebulaIn Bloom, 2022


© Sally Chapman, Living in the Bubble #6, cyanotype and embroidery | Massachusetts, USA

© Chloe Cusimano, Pushing Verticality, 2024 | Los Angeles, CA, USA

© Jolie Zinn, Brazilian Surf, 2024, cyanotype on fabric & naturally pomegranate-dyed jacket

© Andrea Cote, Herb Woman, cyanotype on repurposed cotton sheet, 2024 | Hampton Bays, USA

© Jillian Abir MacMaster, Holy Shroud, 2024

Cyanotype Currents: Contemporary Abstractions in Cameraless Photography

Posted on March 10, 2025

The Griffin Museum of Photography is delighted to showcase a curated selection of dynamic and inventive cyanotypes employing abstract gestures in camera-less photography. With selections made form over 600 submissions, Cyanotype Currents: Contemporary Abstractions in Cameraless Photography offers an exploration of contemporary abstract visual languages in cyanotype-making today. The exhibition presents works from 40 artists working all over the world, featuring artists from Australia, Belgium, Canada, Israel, Netherlands, New Zealand, Scotland, Switzerland, The Bahamas, the United Kingdom, and the United States.


Cyanotype Currents:
Contemporary Abstractions in Cameraless Photography

Alan Wyllie • Andrea Moore • Annabel Pretty • Annette Wijdeveld • Ashlee Whitehead • Ben Stezaker • Cristina Sáez • D.E. Todd • David W Simpson • Ella Barnes • Ellen Barratt • Haein Songégé • Holly Sandiford • Jamie Cabreza • Kadra Ochoa • Katama Murray • Kim Herringe • Kristin Linnea Backe • Linda Jarrett • Lisa Helland • Maya Ciarrocchi • Michelle Mansour • Mila Dorfman • Natalie Goulet • Dora Duan • Nelly Haikal • Patricia Gilhooly • Paola Davila • Vanessa Thompson • Yao Tong • Kiyomi Yatsuhashi • Stephanie Cruz Mendez • Sarah Pfohl • Adair Freeman Rutledge • Jenna Meacham • Kristina Sumfleth • Camilla Jerome • Albert Sanchez • Harley Ngai Grieco • Jackson Lang Fischbach


© Yao Tong (Foshan, Guangdong, China), Visualization of taste and olfaction #1, cyanotype and salt, rice, sugar, oil, blackberries juice, lemon juice, hand wash and dishwashing liquid on paper, 2024

© Ben Stezaker (London, United Kingdom), Opacity, cyanotype photogram of obscured glass, 2023

© Michelle Mansour, In Search of Blue (Heavenly Light), cyanotype on fabric, 2024

© D.E. Todd (Ithaca, NY, USA), Camera Parts, cyanotype on paper, 2019

© Linda Jarrett (Mangonui, New Zealand) I’m not SAD Im Solar Powered, I’m not SAD, I’m Solar Powered, cyanotype on tissue paper, 2023

© Annette Wijdeveld (Wapenveld, the Netherlands), Fluid Connections001, cyanotype on paper, 2022

© Kristin Linnea Backe, Soil Galaxy, 2024

© Jamie Cabreza (Easton, Pennsylvania, USA), Heat of the Moon, cyanotype on watercolor paper, 2025

© Kiyomi Yatsuhashi, Untitled, cyanotype on paper

© Paola Davila, Saloma LVI (Sea Shanty LVI), cyanotype on silk | @paoladavilap

© Ellen Barratt, A Moment, cyanotype chemicals & pigment on watercolour paper

© Cristina Sáez (Switzerland, Roveredo GR), Only One Water, cyanotype on paper, 2024

© Natalie Goulet, Eulogy for a Blue Whale (In Three Parts), cyanolumen print on expired Ilford paper, 2021

© Kim Herringe (Autralia), Untitled, wet cyanotype on Fleur de Coton printmaking paper, 2021

© Ashlee Whitehead, Threads of Memory, cyanotype on silk, 2024

© Holly Sandiford, The Last Bloom, cyanotype and phytography on expired photographic paper, 2025

© Jenna Meacham, March 24, 2023, 2:10pm-2:19pm, Cyanotype | Denver, CO, USA


© Adair Freeman Rutledge, Under the Same Moon, cyanotype of baby nail clippings on water color paper | Seattle, WA, USA

© Ella Barnes (Brooklyn, NY), Wake, cyanotype on Arches watercolor paper, 2022

© Sarah Pfohl (Indianapolis, USA), Osteogenesis Imperfecta Model No. 204, cyanotype on light blue construction paper, 2022

©Nelly Haikal (Liège, Belgium), Dream and Happiness

© Lisa Helland, Untitled, cyanotype painting on thermal label paper

© Katama Murray (Deer Isle, Maine, USA), In the Shadows III, 2023

© Stephanie Cruz Mendez, Partial Eclipse, cyanotype on bristol paper, New York City, NY, USA

© Andrea Moore, Wrap, cyanotype | Falmouth, MA

© Maya Ciarrocchi (Bronx, NY), Derecho (Diptych), 2024


© Kristina Sumfleth, Broken Glass (40.6753238, -73.9972517), Gowanus Canal, cyanotype, 2022 | Brooklyn, NY, USA

© Vanessa Thompson (Salem, MA, USA), Fervid, cyanotype on watercolor paper

© David W Simpson (Seattle, USA), Beach X-ray #2S, cyanotype on Rives BFK printmaking paper, 2011

©Haein Songégétal (London, United Kingdom), Un—Folded Complete, 2024

© Alan Wyllie (Star, Scotland), Cut Out Shapes, cyanotype on 300gsm cartridge paper.

© Patricia Gilhooly (Chatham, NJ, USA), Metamorphosis, 2025

© Camilla Jerome, Bodies of Water, Atlantic Ocean No. 027, cyanotype, water from the Atlantic Ocean, mineral salt, and soap on watercolor paper | Nahant, MA, USA

© Mila Dorfman (Ramat-Gan, Israel), Pattern No. 3, cyanotype on watercolor paper, 2024

© Dora Duan (Cupertino, California, UA), Pattern Study 4, Cyanotype on 3D archival paper, 2025

© Alberto (Albert) Sanchez, The Onset, Cyanotype on watercolor paper | Bloomington, USA

© Kadra Ochoa (Christiansburg, USA), Cyanotype #8, 2019

˙ © Harley Ngai Grieco, Lattice Gaze 2B, Double-exposed Cyanotype toned with Green Tea on Vellum Paper | Brooklyn, NY, USA

© Jackson Lang Fischbach, Study for Lighthouse (Spinning) #03, Cyanotype on yellow fiber paper | New York, NY, USA

© Annabel Pretty (Auckland, New Zealand), Untitled, Mixed Media Cyanotype plus AI

About the Curator

Vicente Cayuela is an artist and photo editor working across various photographic platforms to promote and disseminate photographic work. His work has been exhibited and published by platforms and institutions such as Lenscratch, Fraction, Altiba-9 Contemporary, Analog Forever Magazine, Abigail Ogilvy Gallery, PhotoPlace Gallery, and others. He has received numerous accolades, fellowships, and scholarships, including the Emerging Artist Award in Visual Arts from the Saint Botolph Club Foundation, a Lenscratch Honorable Mention Student Prize, and an Atlanta Celebrates Photography Portfolio Review Equity Scholarship. Since 2023, he has been a juror at the Alliance for Young Artists & Writers’ Scholastic and Writing Awards in the Massachusetts Region. In addition to his artistic practice, he has contributed to the development of exhibitions and exhibition materials at institutions such as the Rose Art Museum, TCNHS, MASS MoCA, and the Griffin Museum of Photography.

© Vicente Cayuela, Lovers at Shore

Photography Atelier 39

Posted on February 28, 2025

©Craig Childs
©Jaina Cipriano
©Janet Smith
©Jennifer Erbe
©Julie Berson
©Megan Riley
©Paul Baskett
©l. jorj lark
©William Feiring
©Benita Mayo
©Fran Sherman
©Georgia McGuire
©Irene Matteucci
©Julia Buteux
©Judy Katz
©Linda Bryan
©Stacey Ewald
©Margaret Rizzuto

We are pleased to present the portfolios of the Photography Atelier 39 creative artists.

Photography Atelier is a portfolio and project-building course for emerging to advanced photographers taught by Emily Belz and Jennifer McClure.

Participants engage in supportive critical discussions of each other’s work and leave with a better understanding of the industry and the ability to edit and sequence their own work.

Instruction in the Atelier includes visual presentations based around an assignment which is designed to encourage experimentation in both subject matter and approach. Students learn the basics of how to approach industry professionals to show their work and how to prepare for a national or regional portfolio review. There is discussion of marketing materials, do-it-yourself websites, DIY book publishing and the importance of social media. Students learn the critical art of writing an artist’s statement and bio.

The students here were part of our year long portfolio development program from Fall of 2025 to Spring 2025 and we are thrilled to see their work in the main gallery at Winchester.

Students of Emily Belz:

Julie Berson | Jaina Cipriano | Janet Smith | Megan Riley | L. Jorj Lark | Donna Gordon | Craig Childs | William Feiring | Jennifer Erbe | Paul Baskett

Students of Jennifer McClure:

Margaret Rizzulto | Judy Katz | Francine Sherman | Georgia McGuire | Linda Bryan | Shawn Ewald | Julia Buteux | Benita Mayo | Irene Matteucci

Students of Emily Belz:

Paul Baskett: Uncertain Designs

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Tension–between truth and fiction, clarity and opacity, assurance and uncertainty–drives my image-making. I believe questions fuel creativity, and my work embraces ambiguity as a space for exploration rather than resolution.

Uncertain Designs consists of a series of discrete images conceived as disconnected tableaux, stage sets seen just after the curtain rises and lights go up, but before actors appear or speak. In this hushed, liminal space anticipation builds, questions flourish, and narratives, still undefined, can go anywhere. These images combine multiple photographic and discrete AI-generated elements, digitally collaged and manipulated as guided by intuition, to create layered, open-ended narratives that resist fixed meaning, challenge certainty, and encourage curiosity. There are no answers here; I am, after all, only the stagehand. You are the director, the playwright. Take these sets where you will.

As we all increasingly are bombarded by lies masquerading as truths, as authoritarian authors disparage inquiry and promote absurdities as wisdom, our ability, willingness to question, to create unbounded by dogma, is more important than ever. By blending the “real” with the constructed, I invite viewers, both here and most especially once outside the gallery, to question, to engage with the unknown, to embrace uncertainty, and to find meaning not as delivered but on their own terms.

Julie Berson: Women Speak on the Election

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Women’s rights were central to the 2024 election. As a woman I turned to art as a way to connect with other women in particular, across the entire political spectrum. I wanted to understand what they were thinking and feeling in these polarized times.

I worked in two media – photography and the written word – both photographing and interviewing each woman. I wanted their words to convey their thoughts and feelings, and the intimacy of the photographic portraits to reveal what words could not. No woman is identified with any specific quote, in order to dispel stereotypes. My own preconceptions were quickly shattered as I heard the layered and sometimes surprisingly unstereotypical ideas and thoughts that were shared with me.

The intention of this project is to bear witness to the common humanity of women from every political perspective. To offer the hope that we can reach for each with both empathy and accountability, even in the most extreme environment. In doing this work I learned that a deeper connection and understanding is possible for me and that every woman I spoke to was thirsting for the same thing, despite our differences.

Perhaps by having one conversation at a time, one connection at a time, “bird by bird”, we can be healed.

Craig Childs: Hardwick: Preservation of a Way of Life

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Moving from rural Texas to Boston in the summer of 2020 I was searching for a link to home, having been away from city life for over 20 years. I found it at alocal outdoor farmer’s market, leading to friendships with several of the farmers from the village of Hardwick, Massachusetts.

Hardwick, a township in central Massachusetts was established in 1739 and consists predominantly of the village of Hardwick, and Gilbertville, which began as a mill town in the 1860s. At first, the visitor sees a New England common of colonial era homes, buildings and churches, begging to be on a Christmas card. The surrounding small family farms, pastures, and greenhouses stand in contrast to the larger scale industrial farms of the Midwest. The village of Gilbertville, with its depression era mills, evoke memories of long departed New England textile manufacturing.

Hardwick has become dear to this Texan’s heart. It’s a place where the residents tell the stories of local villagers who founded the town in the aftermath of King Philip’s War that opened central Massachusetts to European settlement. Stories of those who fought in the “French War”, of those who were the patriots and who were the Tories at the outbreak of the “Rev War”-all of which inform the conversations after a day of planting, or harvesting, or rebuilding a rock wall or repairing a tractor. Shay’s rebellion is discussed with respect. A place where the local farmers sell their produce in farmer’s markets, preserving a way of life inherited from colonial days.

This ongoing photo project begins with what it means to love where you live and what you do. Yet, along side the resilience of the farmers, Gilbertville struggles yet with the poverty, crime, and joblessness left behind by the departure of manufacturing. Understanding this community requires an appreciation of these tensions, without which the narrative of the small farming community would be incomplete.

Jaina Cipriano: The Lucky Ones

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At 17 time stops. You have forever briefly in your grasp. You remember, don’t you? Any thing was possible and nothing mattered. The future is a beautiful dream, never approaching.

Trouble has no meaning and boundaries are meant to be pushed. To learn when to stop, you have to go too far. And you are a lucky one if you don’t write your future on an unfortunate incident.

This time in my life has been deeply etched in my memory and I can’t let it go. It haunts me. And I think I somehow always knew it would. The photographs are visual journals, I kept a meticulous record of this time. It was the only way to cope with the change I knew was coming.

These photographs are the last of time before the internet became a place. We wandered aimless as kids. Our flip phones, always dying and being charged on the go, gave us a way to connect- “where u at?” and that was it. Life was outside the phone.

Now phones are an extension of ourselves. When the phone and the camera fused with smartphones photographs stopped being memories and started becoming content. Our photos weren’t personal documents anymore, they were public.

When the camera turns on people now there is a new awareness-where will that photo go? Who will see it? And what will they think of me?

I see a freedom in these images that is of that age, yes, but that is also of the time. We were living on the cusp of change, the very last of a free world.

Jennifer Erbe: Dislocation

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I was raised as an only child by adoptive parents who loved me dearly, but never really understood me. I never fit the way my mother wanted me to be. I was a curious kid who spent a lot of time by myself. I loved to explore outside, finding clay and picking wild strawberries. My hair was tangled, and invariably I had dirt on my knees, despite the smocked dresses and patent leather shoes she favored for me.

The photographs in this project document spaces in the middle–between two worlds. Trails that wind along the Charles River and back onto commercial neighborhoods. City parks and urban residences. They contain unseen characters and stories. These places ask questions of me when I’m walking: Are these stories about the family I grew up with, or the one I never knew? Am I making narratives? Self-portraits?

These in-between spaces feel familiar. They inhabit two opposing identities–natural beauty and practicality, industrial spaces and beautiful light, nature and concrete. The odd character of these spaces reminds me that being a little off is okay. Often there is a human presence in an unexpected place, or a portal that calls me to come and explore. Usually, though, the portals only expose more questions. Questions about myself, little hints of who I am–but no answers.

William Feiring: Feel The Music

©William Feiring
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The power of music is universal.

Most of us have songs we love. Music can remind us of people, places or experiences that hold meaning for us, as well as evoke feelings of joy, excitement, or sadness. When I Listen to “Mother’s Song” by Gregory Porter, I always think of my mom and how important she was to me in my life.

For this project, I asked people to listen to music that holds meaning for them while being photographed. I wanted to capture their emotions to the music. Some of the songs chosen I knew, and during the sitting, I often found myself absorbed by the melody or lyrics and forgetting I was supposed to be taking a photo.

Just like the many genres of music, many kinds of feelings were evoked, from sorrow to happiness. Some were meditative as they listened, others more physically expressive. Before a session, many people voiced that they were apprehensive about being photographed, however the power of the music moved everyone beyond self-consciousness. Four days after sitting, Brown, ninety-four, told me “Been a long time since I’ve taken the time to enjoy those musical pleasures.” Eight days later Brown passed away.

Donna Gordon: In the Garden

© Donna Gordon
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There’s a certain exchange that takes place between the figure and the landscape.  Ideas of blooming and decay, growth and awakening—all synonymous with human change and birth and aging.

Perhaps the ultimate pairing in idea and image is a human portrait with a backdrop of Nature.  This series of portraits of women works to dispel the widespread stereotype of Eve in the Garden of Eden.  

My portraits make visible contemporary women of many ages and backgrounds—showing their strength, diversity, imagination and vulnerability.

Each woman—in a nod to Eve—is accompanied by a garden element—whether set in a field, farm, grotto, yard, public park or indoor setting.

Photography witnesses that fraction of a second in which we live and breathe, the instant before moving on and morphing into something different.  Portrait photography in particular brings me face to face with a unique being—whose thoughts I think I contain for a fleeting second—before letting go.

I. jorj lark: Urban Stutter

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Initially there were moments of reflection. I’d pick up in my camera to capture reflections upon glass or shiny surfaces, or water. Puddles, seas, raindrops. Did you know that the whole world lives upside down in a dew drop. Do you know how many dewdrops there are in the grass in the early morning? In these reflections, the cityscape was inverted, curved, managed into a multiplicity of itself. This became my notion of urban stutter. That the street environment has multiple, moving, variable points of view at any given instant. Dynamic. Irrepressible experiences that are multifaceted, fractured, refracted, reflected, repeated over and over until the myriad voices strung together create a new meaningful whole.

The scent of wet cement, for example, and textures, and sounds, a vital gust of wind, evolved my definition and moments to capture as reflected environment. Also the notion of nature inserting herself in countless ways. And lately, as I live in wonder at the cacophony and quietude of macro to micro, it dawns on me how very many decisions have been made by individuals to concoct these environs. Stunning.

As a street photographer, primarily, I’m moving from literal to abstract visual moments as I’m documenting “exactly” what i see. One spot can bring about impressionism, surrealism, any fine art painterly modality, all inspire me. My photography is bold. Bold colors, shapes and I give a moment for things that inhabit the sidelines or act as backgrounds in our lives to inhabit the center, to be considered elegant and sublime and meaningful.

I feel like I’m stalking beauty. That the world itself, all of it, each singular component is ineffable, remarkable, a profound miracle of existence. The edges of texture, scent, the thunder of a working construction site all substantial, amorphous and impermanent. I wonder who made you? For what? And why are you so beautiful? Or ugly beautiful? I share these images with you in the hopes that you will see it too. On my very worst days, I remind myself that I get to see in color. Here for you are some of my best days.

Megan Riley: Self, Preserved

©Megan Riley
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As I march firmly into my sixties, I can’t help but notice (and yes, participate in) the absurd lengths women–in life and on social media–go to in an attempt to stop the unstoppable, aging. We are bombarded with a staggering variety of creams, potions, procedures and exercises designed to keep us young. The results are often hilariously cringe-worthy. More horrifying than if we did nothing at all. Beneath all this lies society‘s demand for youth and perfection, and to erase the physical manifestations of a life lived. Our worth tied to how well we preserve the physical version of ourselves that once was.

Self, Preserved is about the desire to resist time and the folly in trying to control what is meant to change. Using metaphor and humor, I explore this concept by sealing physical representations of women’s body parts (including my own) in plastic. These plastic encased objects become distorted and unnatural, just like we become the harder we try to stop the natural process of aging. The irony being that the more we attempt to preserve the bits of ourselves, the more disconnected we become from our whole, authentic self.

Janet Smith: Unexpected Beauty

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Three dead hosta leaves in my driveway marked the beginnings of this project. They were pretty, all curled and graceful so I saved them. In walks around the neighborhood, I found more leaves that had let go of their anchors and so began what has become a multi-year still life project.

My leaf collection grew to include other types of plants and new discoveries were everywhere: on walks in the woods, in fields, by ponds, at the edges of parking lots and wherever wild things grew. As I walked through the seasons, I selected new subjects based on their delicate and graceful shapes, interesting textures, and patterns of their branches.

During this time, I also photographed the changing light on the landscapes around me and used these photos as backdrops for my still life arrangement. This process transformed simple photos of botanical forms into quiet moments where a still life and a landscape dissolved into one another.

The plants preserved in my photographs make me marvel at finding beauty in nature where we least expect it. They are memories from seasons past and invite pause, stillness and reflection on nature and the passing of time. When I complete this project, I will say goodbye to my collections and return them to nature.

Students of Jennifer McClure:

Linda Bryan: Falling Leaves: Mother and Daughters

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Dear Mom you said you wouldn’t hit anymore love, _____. (sister)

I recently found these words, scrawled in a child’s hand on pink origami paper, buried in a box of old report cards and other family ephemera. The message sent my mind reeling—its words didn’t align with how I remembered my mother when we were children.

Decades after my sister wrote that note, as I sift through keepsakes saved by my mother and grandmother, I am uncovering more questions than answers. I once believed our family tree was strong and historic; now, I see it as fragile, slightly twisted, and missing limbs—much like my childhood memories.

Within these boxes are old sepia photographs—faces of distant relatives, strangers without names or context—along with contemporary images, some bearing the weight of time, their colors fading, surfaces cracked or water-damaged. They are physical reminders of how Memory fades, distorts, or vanishes entirely.

In one old, damaged, and out-of-focus photograph, I am sitting in a light-green Victorian chair in my grandparents’ living room. It bothers me that I can’t pull the image of the person who took the picture from my memory, nor recall the day the photo was taken. Has the photograph replaced the memory?

When I ask my sisters about past events or old photographs, our recollections often differ widely. Which memories are real? Have the stories I’ve clung to—the ones that once defined my sense of self and family—been misinterpretations all along? Despite these uncertainties, I feel an urgent need to reconnect, to piece together the faces and events, even if it shatters what I once considered true.

Falling Leaves is a project with many branches. By combining personal andvintage family images and objects, I create a visual dialogue on memory—both real and imagined—exploring the intricate ties between family, place,and identity. Each piece derived from my ever-shrinking branch of a largerfamily tree—one that, like memory itself, continues to shift and transform.

Julia Burteux: This Too Shall Pass

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Imagine my surprise when I discovered emotions are not thoughts but physical sensations-chemical responses released in the brain. For years, I carried stories of joy, injustice, shame, and frustration, believing them to be my emotions. In reality, those stories were simply thoughts I had attached to fleeting feelings.

Science has shown that, with the exception of grief, emotions pass through the body in just ninety seconds-just a minute and a half. Yet, instead of allowing emotions to move through me by simply naming them and letting them go, I held onto them, replaying narratives that kept them alive far longer than necessary.

This realization has profoundly shaped my artistic practice. Through my work, This Too Shall Pass, I explore the transient nature of emotion and the tension between momentary feeling and prolonged thought. Using images applied to mirrors, I create pieces that serve as meditations on what it means to experience, release, and transform emotional energy. / broke the plate and this feeling is embarrassment. My things were stolen and this feeling is anger. My mother is sick and this feeling is sadness. The mirror reflects the viewer back to themselves, making them an active participant in the work.

An accompanying clock further reinforces this concept, offering an immersive experience of the ninety-second arc in which emotions naturally rise and fall. This added element encourages visitors to confront their own emotional attachments and consider how they engage with their feelings-whether they let them pass or prolong them through thought.

By embracing this perspective, my work becomes a visual and temporal representation of emotion’s impermanence. It encourages self-reflection, awareness, and perhaps even liberation from the stories we tell ourselves.

Stacey Ewald: The Allure of Darkness

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From childhood, we are taught to fear the dark, a primal instinct reinforced by ghost stories and the unknown. However, I have always found myself drawn to its enigmatic embrace. I am captivated by the ‘dark side’ in art, literature, and film. Even now, amidst the often difficult realities reflected in news and media, I remain pulled toward its undeniable power. Darkness is not just a landscape of danger and uncertainty, but a place of silence and contemplation, of romance and intimacy, and of unexpected beauty where the familiar fades and the unexpected blooms. It is where our instinctive fear of the unknown clashes with a deeper curiosity. We are wired to seek clarity and predictability, yet darkness offers something else: a fertile space for imagination and emotional depth.

My work explores the lyrical power of darkness not to obscure it but to transform. The images are reimagined through shadow and absence. Within this darkness, perception slows, allowing for a closer look and a new kind of engagement, one that reveals hidden truths, sparks mystery, and offers the possibility of finding unexpected warmth in its resonant atmosphere. This is an invitation to embrace the allure of darkness, to challenge the ingrained fear and to discover what lies within the velvety rich shadows.

Judy Katz: What Lies Ahead…

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I ceased making photos for many years.  Familial and professional obligations were front and center.  As we say (and so often as a woman) – “life got in the way”.  Off and on for years, reengaging with photography was on my list of things to do.  I could say that I finally had an epiphany, but it was more a simple recognition that I was at a point in life where planning for the future might come with limitations. I could either focus on regrets or check off items on my list.  I decided to act.  I retraced my steps, poring over an archive of images I had made over the years.  Several recurring themes were evident. Light and shadows, often connected to paths and portals that sometimes led to clear destinations and other times were murky in terms of the endpoint.  Hints of both movement and stillness simultaneously. 

As part of my “re-entry routine”, I developed a routine of local photowalks.  I found that I am still drawn to exploring passageways, noting the light and patterns that seem to beckon me. Personal circumstances have limited my travel, but not the possibility of capturing gateways and openings, both obvious and obscure, that might lead anywhere.  When we are young, possibilities seem endless. As we age, we may either dwell on the past or focus on the future.

This project focuses on paths and portals that leave us free to choose the endpoint.  In my mind, they lead to a past in which I visit with family and friends who are no longer with me, to a future centered on the growth and blossoming of grandchildren, or even to my own continuing evolution. These photos may not pull us “through the looking glass” into a  fantasy world, but we can still be challenged to decide where these paths will take us.

Benita Mayo: Blueprint

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Memory is unreliable, and time has a way of bending the truth. I have always been on ajourney to unearth and examine the stories that live within me—some through my own experience, but most through inheritance.

When Daddy suddenly passed in 2020, the tectonic plates of my life forever shifted. In an instant, I knew life would never be the same. As I find myself longing to understand the past, the impermanence of memory is palpable. I feel as if I’m racing toward an invisible finish line.

My parents were born in Virginia, a state with an indelible imprint on America’s most painful and pivotal chapters: the rise of slavery, the Civil War, and the long struggle for civil rights.Over 350,000 men, women, and children were sold from Richmond’s auction block. Virginia was the capital of the Confederacy, and the Fall of Richmond marked the end of the CivilWar. Later, during a time of “massive resistance,” a neighboring county chose to close its public schools rather than integrate them. This was the Virginia into which my father was born.

History and politics shaped my family’s story. They directly influenced how we were raised.The most pervasive feelings I remember from childhood were fear and loneliness. We lived with trauma, sorrow, silence, and deep wounding. But at the heart of it all, there was love—and a steadfast hope that tomorrow could be better than today.

Toni Morrison, in The Bluest Eye, urges us not to “forgive and forget,” but to “remember and do better.” Too often, shame and embarrassment silence truth. But only through declaration and revelation can truth and insight rise. Only then can the cracks begin to mend, and healing begin.

Much of what I have struggled with throughout my life has roots in collective trauma. In mysearch to understand what happened to me, I’ve spent 1,571 hours in therapy. It has takendecades to identify the cycles, to stop the bleeding, to clean the wound, and to begin thework of healing. For any wound to heal, this must come first. Then, in time, new tissueforms—a foundation for new skin that is stronger, more resilient.

Through words and pictures, I recount the fierce determination of a man caught in the web of history. The deck was stacked against him. But he made a way out of no way. The calmness of the landscape conceals the quiet outrage, the mourning, and the sacred commemoration.

Irene Matteucci: Overlooked

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I started this project as a way discover my new neighborhood. I looked for things that make the area
unique, an urban landscape discovering its artistic side, making an effort to show that it is growing. As I
progressed, however, it became less about the neighborhood and more about the moment. The images
became less descriptive and more abstract, using angles, light, shadow, depth, color, and reflections to
show the mystery in unexpected places.

There is a sense of not knowing in these images. But maybe I don’t need to know because what I’m
seeing is complete within itself. Photography shows the world in a way that can’t be seen with the naked
eye, frozen in time and space. Light changes from one second to the next. One fleeing moment exists
because I captured it, I noAced. My photographs hint at a larger story.

As I’m moving about my world, wherever I happen to be, I am drawn to the interesting corner, the
intriguing shape, how light illuminates, and how reflection redraws. I look from the inside out and the
outside in. I welcome the discovery of the overlooked, giving it a voice and the chance to be seen by a
new audience

Georgia McGuire: Graceful Moments

© Georgia McGuire
© Georgia McGuire
© Georgia McGuire
© Georgia McGuire
© Georgia McGuire
© Georgia McGuire
© Georgia McGuire
© Georgia McGuire
© Georgia McGuire
© Georgia McGuire
© Georgia McGuire
© Georgia McGuire
© Georgia McGuire
© Georgia McGuire
© Georgia McGuire
© Georgia McGuire
© Georgia McGuire
© Georgia McGuire

Graceful Moments is a collection of photographic images that celebrate the serene elegance of nature, inspired by my transformative trip to Japan. The country’s culture and art, particularly it’s simplicity, deeply influenced my approach to photography. In an isolated portrait-style, I often focus on Japanese objects – baskets, screens, and Japanese paper – capturing their harmony with nature. The use of intentional negative space and an unusual dip in composition, create a sense of stillness, balance, and quiet reflection. An abstract angle changes one’s perspective allowing a glimpse of the intrigue outside the space. This intimately private peek into my personal world creates a wonder of moments in time.

The project images are printed on a luminous vellum that compliments the hand gilded metal substrate creating a unique work of art. Each piece is then cold waxed and hand buffed to bring out the translucent beauty of the gold leaf.

The process of photographing, whether inside or outside, is deeply meditative for me, inviting mindfulness and an appreciation for the delicate importance of nature. It also draws parallels from transient beauty found in nature, much like the fleeting moments captured in Japanese Haiku poetry.

Moments
Graceful petals fall,
With stillness in the day’s air,
Time slips through my hands.

~ Georgia McGuire

Margaret Rizzuto: Dare Me

© Margaret Rizzuto
© Margaret Rizzuto
© Margaret Rizzuto
© Margaret Rizzuto
© Margaret Rizzuto
© Margaret Rizzuto
© Margaret Rizzuto
© Margaret Rizzuto
© Margaret Rizzuto

‘Invisibility Syndrome’ isn’t a metaphor—it’s a lived experience. As women age, we are dismissed, overlooked, and essentially invisible. It doesn’t seem to matter how brilliant, beautiful, or accomplished we’ve been—we vanish. No one is exempt. I know—because I’m living it. And I’ve come to realize I’m far from alone.

While this is a deep and often painful truth, I was determined that this project not feel hopeless. I want to illuminate it, to name it, and to push back—loudly. No—no, we do not have to accept this erasure. We will not accept it. Dare Me is a refusal. It’s also a reclamation.

It has taken us a lifetime to arrive at this place—through pain and joy, growth and hard-won wisdom—and we deserve not just to be seen, but, dare I say, celebrated.

To bring this evolution into visual form, I found an unlikely ally: Flo, a beautifully crafted, mature doll from Poland. She became my muse for this project, embodying the vulnerability, acceptance, and defiance of aging with grace. This work is for every woman who’s been made to feel small in the very years she’s
grown into her full power.

We’ve earned the right to be seen—fully, fiercely. The dare is ours to take.

Fran Sherman: My 70th Year

© Fran Sherman
© Fran Sherman
© Fran Sherman
© Fran Sherman
© Fran Sherman
© Fran Sherman
© Fran Sherman
© Fran Sherman
© Fran Sherman
© Fran Sherman
© Fran Sherman
© Fran Sherman
© Fran Sherman
© Fran Sherman
© Fran Sherman
© Fran Sherman
© Fran Sherman
© Fran Sherman
© Fran Sherman
© Fran Sherman

In my 70th year, I feel unmoored as I navigate life in retirement, without the urgency of family and work that was my reality for so many years. The open space is both unsettling and exciting.

In the chaos of raising a family and building a career, I found structure and purpose. Life was busy but also felt full and limitless. Now I have more time than ever each day, but I have fewer years ahead of me. Life is full of contradictions—I am grateful for all I have yet eager for more; energetic yet tired; creative yet stuck. Time is expansive and compressed, moving slowly and quickly at once.

Conversations with my peers confirm that they too are figuring out who they are and how to make the most of time as they age. We haven’t changed, but less is demanded of us at a time when we have so much to give.

My 70th Year is an ongoing photographic journal. Using a documentary photography approach, I make pictures of my daily life to better understand how I am feeling and where I am going. Still lives reflect parts of me, and long exposures, focus, collage, and images in series, show the way my life feels embedded in and experienced through the lens of time.

Francisco Gonzalez Camacho | Reverting

Posted on February 28, 2025

We are pleased to present the solo exhibition of Griffin artist member Francisco Gonzalez Camacho. Selected for an exhibition prize during our 30th Annual Juried Members Exhibition by Director Crista Dix, Camacho’s works are visual, emotional moments, finding calm among the landscape. We are pleased to showcase his series of works during our celebration of our creative community this summer.

Reverting –

Reverting reflects upon the profound material connection between the landscape and image-making, exploring environmental issues and the objectification of nature in Iceland.

Developed in Reykjavík with the SIM artist-in-residence program, this project merges photography and printmaking through material experimentation, seeking alternative ways to engage with the landscape.

Issues like gentrification, waste, and environmental degradation, largely driven by tourism, challenge the idealized image of Iceland’s natural beauty. During my stay, I photographed highly visited natural locations, which I reinterpreted in combination with the creation of my own handmade recycled paper from waste.

This exploration mirrors the transformative process of manifesting something from the void —a form of alchemy of waste— with the delicate equilibrium of our environment, and the perpetual cycle it follows.

About Francisco Gonzalez Camacho –

Francisco Gonzalez Camacho (b. 1990) is a Spanish visual artist based in Finland.

Gonzalez Camacho’s work presents a process-based approach interweaving photography and graphic printing methods. His practice is a result of intuitive exploration centered around themes such as materiality, immigration and the connectedness between landscape and self.

New Horizons: Korean Contemporary Photography

Posted on February 23, 2025

The New Horizons: Korean Contemporary Photography exhibition will introduce the creative and diverse works of established Korean photographers to American audiences.

Curated by Joanne Junga Yang, this exhibition in our Main Gallery showcases the captivating works of seven contemporary Korean photographers: Ok Hyun Ahn, Seongyoun Koo, Anna Lim, Soosik Lim, Hyundoo Park, Jiyeon Sung and Sun Hi Zo, Their diverse portfolios delve into the intricate tapestry of human emotions, exploring themes of longing, loss, and the nuanced ways in which individuals navigate their cultural identities.

Read more from Joanne Junga Yang‘s curatorial statement here.

Korean photography has developed through a dynamic balance between documentation and artistic expression, serving as both a means of recording reality and a tool for creative interpretation. While traditional documentary photography has captured social and historical transformations, contemporary photographers explore new possibilities by expanding the boundaries of the medium. Through this evolution, Korean photography has developed a distinct visual language that reflects the ongoing changes in society and culture.

<New Horizons: Korean Contemporary Photography> introduces seven photographers who reinterpret reality through their images, responding to the world around them and creating new narratives. This exhibition highlights how Korean contemporary photography engages with global artistic trends while maintaining its unique perspective. These artists, who have witnessed the transition from analog to digital photography, continue to experiment with the medium’s potential. Their works go beyond simple representation, using photography to question, redefine, and expand how we perceive the world.

Ok Hyun Ahn

Ok Hyun Ahn lives and works in Seoul. She earned her MFA in Photography, Video, and Related Media, at the School of Visual Arts in New York. She was awarded the Artist in the Marketplace (AIM) Fellowship at the Bronx Museum, New York (2012), and has had residencies in the International Studio & Curatorial Program (ISCP), New York (2010), and the Ssamzie Studio Program, Seoul (2007). Her numerous solo exhibitions include Dictee x Love Poem, Daejeon Museum of Art (2023), Love, Tears, Seduction, Lydmar Hotel, Stockholm (2015), and Homo Sentimentalis, SHOW ROOM, NYC (2013). Her work was presented at 12th Gwangju Biennale, 2018 and others. Her work has been collected by the Seoul Museum of Art, the Museum of Contemporary Art Busan, the Daejeon Museum of Art, and the Photographic Center Northwest, Seattle.

Working primarily in photography and video, she not only explores the complex aspects of human emotions but also exposes the banal layers underneath consciousness to be absurd. 


Jiyeon Sung

Jiyeon Sung is a contemporary photographer known for her staged photography, which reinterprets everyday scenes in a minimalist way using mise-en-scène elements inspired by theater sets. By placing simple yet symbolic objects and figures, her work visualizes the inner world of modern individuals and explores existential questions. The moments she captures are not frozen in death but suspended in continuous time.

After studying French literature in Korea, she earned a Master’s degree in Photography and Contemporary Art from the University of Paris VIII. In 2006, she received the Promising Artist Award from the Korean Cultural Center in France, and in 2016, she was awarded the 14th Daum Artist Award by the Parkgeonhi Foundation in Korea. Her works are included in the collections of the National Museum of Modern and Contemporary Art – Art Bank, Seoul Museum of Art, Busan Museum of Art, Hanmi Museum of Photography, GoEun Museum of Photography, Société Générale Bank in France, and FRAC Haute-Normandie, among others.


Seongyoun Koo

Seongyoun Koo is a South Korean photographer who challenges conventional perceptions of objects through her still-life photography. By placing unexpected materials in unconventional settings or creating compositions that mimic natural forms, she playfully subverts the inherent meanings and values we attach to everyday things. Her major series include Butterflies (2000), Sand (2004), Flower Pots (2005), Popcorn (2007), Candy (2009–), and Sugar (2015–).

Her work explores how simple contextual shifts can radically alter an object’s meaning. In her Flowers and Butterflies series, she demonstrates how a beautiful butterfly, when placed on a bowl of rice instead of a flower, suddenly becomes an inedible insect. This playful yet critical approach continues in Flower Pots, where she stages scenes of ornamental plants invading human spaces, offering a satirical commentary on humanity’s tendency to view nature as something to control and conquer. Koo later transitioned to constructing artificial landscapes by hand, blurring the line between reality and representation. In Popcorn, she uses popped kernels to recreate delicate plum blossoms, emphasizing their fleeting beauty. In Candy, she meticulously crafts peony flowers—symbols of wishes and prosperity—out of colorful sweets, merging themes of desire and impermanence. In Sugar, she molds decorative objects from sugar, allowing them to melt over time, reflecting on the ephemerality of existence and the fragility of value. Her work often plays with material illusion, where ephemeral substances—whether sugar, candy, or popcorn—are transformed into something visually substantial yet fundamentally transient. The melting sugar sculptures, in particular, resonate as a poetic meditation on time, memory, and the impermanence of human constructs.

Seongyoun Koo lives and works in Seoul, South Korea. She holds a B.A. in Indian Philosophy from Dongguk University (1994) and a B.F.A. in Photography from Seoul Institute of the Arts (1997).


Anna Lim

Anna Lim was born and live in Seoul. She graduated MA from California State University, Fullerton in 1996 and received PhD in Art Photography from from Hongik University in Korea in 2019.

She has won the award the 11th ILWOO Photography Award, Seoul (2020), the Arles Photo Portfolio Review Award (2019), Korean Artist Project Artists (2017), SOORIM Photography Cultural Award (2014), Raising Female Artist Award (2013), Sovereign Art Foundation Asia 30 Artists (2012), Public Art 4070 Project Artist of the Year (2012), New York Gallery Korea Young Artist of the Year (1999). Furthermore, she has held 20 individual exhibitions and more than 50 group exhibitions at home and abroad and has been working steadily so far. In the recent series of works, Anxiety; Weight transferred to images (2022), Anxiety ON/OFF (2020), Anxiety rehearsal (2018), Frozen Hero (2017), Reconstruction of Climax (2011), she visualizes a meta-fictional narrative self-reflective perspective on mass media that distributes images of war weapons and other people’s pain as spectacles, and the viewer who consumes them.

She is currently a professor in the Department of Photography and Media at Sangmyung University in Korea.


Soosik Lim

Soosik Lim graduated from Chung-ang University’s Department of Photography and the graduate school of the same university. He expresses various objects that symbolize universal desire using photography through series of works such as Chaekgado (which combined photos of bookshelves with the way in which to create Korean traditional paintings), Picturenary, Mountain, and Room.K. Lim has participated in over 100 group exhibitions and 20 solo exhibitions in many countries, including the U.K., Spain, and Brazil. His works are housed at several museums, such as the Art Bank at Korea’s National Museum of Modern and Contemporary Art and Germany’s Reiner Kunze Museum.



Hyundoo Park

Hyundoo Park studied photography at Chung-Ang University’s College of Arts in the early 2000s and later earned an M.F.A. in Photography and Related Media from the School of Visual Arts in New York. Since then, he has been working on his ongoing series, Goodbye Stranger.

He has received the 8th Park Geon-hi Foundation Next Artist Award and the 1st Surim Cultural Foundation Surim Photography Award. He was also selected for major artist residencies, including the National Museum of Modern and Contemporary Art (MMCA) Goyang Residency, the Seoul Museum of Art (SeMA) Nanji Residency, and the SeMA Exhibition Support Program. Through his work, Park explores the theme of existential alienation in modern society from various perspectives.

In addition to his artistic practice, he has taught photography at Korea National University of Arts, Chung-Ang University, and Hongik University, educating both university students and the general public.


Sun Hi Zo

Sun Hi Zo (b. 1971) explores loss, memory, and transformation through photography.

Her works, including Daisy; Cosmos Mea (2022) and Frozen Gaze (2020~), examine the boundaries of time, impermanence, and presence. Her Planet (2024~) series investigates material and temporal continuity, presenting decay as a continuous cycle of dissolution and renewal. Recently, she has been working on a desert-based project exploring invisibility and traces. Based in Seoul, she works globally and studied at Yonsei and Hongik University.

She is currently a professor at Kyungil University.


This exhibition is made possible by the generous financial support of the Griffin Directors Circle, Griffin Exhibition Committee and Advisory Council. Additional support from the Consulate General of the Republic of Korea and the Korean Cultural Society of Boston.

The 226th Anna Atkins Birthday Exhibition

Posted on February 15, 2025

The 226th Anna Atkins Birthday Exhibition

To honor Anna Atkins‘ pioneering contributions at the intersection of art, science, and education, the Griffin Museum of Photography and LENSCRATCH Fine Art Photography Daily have co-organized an online exhibition, inviting artists worldwide to showcase their finest cyanotype works in celebration of her enduring legacy. Rooted in Atkins’ fascination with botany and the natural world, this exhibition reflects her era-defining spirit of inquiry and deep curiosity for nature.

The works selected for The 226th Anna Atkins Birthday exhibition pay homage to Atkins’ botanical studies and her artistic exploration of the natural world, focusing mostly on contemporary botanical works and works concerned with aquatic environments.

Due to an overwhelming response — nearly 700 submissions — three additional accompanying exhibitions were curated form the original submission pool, showcasing the great diversity in subject matter of this years call for entry.

• Expanded Cyanotypes: New Directions in Cyanotype Making
• Cyanotype Currents: Contemporary Abstractions in Camera-less Photography
• Blue Outtakes: A Cyanotype Collection.

In addition, we are thrilled to bring part of this exhibition in person to our satellite gallery in Downtown Crossing, Boston, MA. Elemental Blues: Contemporary Cyanotypes, surveying the works of Upstate New York and New England-based artists: Anna Leigh Clem, Brett Windham, Bryan Whitney, Julia Whitney Barnes, Sally Chapman and Cynthia Katz.

Congratulations to the selected artists and thank you to everyone who submitted.
We hope you enjoy looking at these selections as much as we did looking at them.


The 226th Anna Atkins Birthday Exhibition Gallery


  • © Debra Smalls, Cosmos
  • © Sally Ayre, Shoreline Walk 1
  • © Vera Gierke, Seaweed on Seaweed
  • © Sharlene Holliday, Hosta Life Cycle
  • © Sonja Schaeffeler, Butterfly Bush
  • Colleen Leonard, Eucalyptus
  • © Dianna Wells, I am Golden kelp, I store carbon!
  • © Elizabeth Booth, Night Leaves
  • © Marcy Juran, September
  • © Kate Lewis, Untitled
  • © Greeshma, Eternal Bloom
  • © Ann-Marie Gillett, A Conversation of Blue and Yellow
  • © Ann Giordano, ROSE
  • © Libby Drew, Ghostly Grevillea
  • © Sarah Martiny, Sea Fan
  • © Jacquelyn Stuber, Fern
  • © Bryan Whitney, Lotus
  • © Rebecca Clark, Evolve
  • © Amelyn Ng, Bloom
  • © Cristina Paveri, Golden Cyanotype
  • © Jo Thomson, Queens Anne’s Lace & Ferns
  • © Jessica Hays, Jessica_Hays_PennyroyalToRestoreTheMenses_2025 – Pennyroyal To Restore The Menses
  • © Lena Nygren, Trandans
  • © Shelb yGraham, Deconstructing Nature Core Sample
  • © Sonia Letourneau, Untitled
  • © Rachel Mulcahy, Beautiful Weeds
  • © Julie Ryder, Phycologia Australica
  • © Samantha Beck, Summer Breese
  • © Bridget Arnold, Seaweed, Cyanotype on Cotton
  • © Sarah Rafferty, Lost in the Lavender
  • © Jaquieline Toal, Rose and Foxglove silhouettes
    © Jaqueline Toal, Rose and Foxglove silhouettes
  • © Andrea Alkalay, Palermo Lake
  • © Javiera de Aguirre, Thunbergia Alata
  • © Danea Jones, Bald Cypress
    © Danea Jones, Bald Cypress
  • © Renee Pudonovich, Orchid Dreams
  • © Michael Eigenmann, Native Fern
  • © Nancy Rivera, Polystyrin heuchera
  • © Carole Audran, Beauté
  • © Jana Lulovska, Narcissistic Perfectionism
  • © Christine So, Summer Woods II
  • © Marita Wai, Sweet Peas
  • © Leah Koransky, NASTIRTIUM
  • © Angela Cornish, Fig Leaves
  • © Skye Snyder, Memory
  • © Alahnna Rousselo, Cycles 04
  • © Marie Smith, Extraction In Conversation with Anna Atkins
  • © Emily Titman, Threads of Her (flowers)
  • © Elizabeth Booth, Night Leaves
    © Oriana Poindexter, Giant Kelp Holdfast

Caleb Cole | In Lieu of Flowers

Posted on February 3, 2025

In Lieu of Flowers is an ongoing series of memorial portraits of the transpeople murdered in the United States and Puerto Rico due to transphobia, state violence, and neglect. Part mourning ritual and part photograph, I use the roses from my garden and portraits primarily made by the subjects themselves to create a series of anthotypes, images created using photosensitive material from plants and the sun that cannot be fixed, therefore will inevitably fade. This process is an act of devotion and extended witnessing over the course of the days- to weeks-long exposures. When I move the prints from window to window each day to keep them in direct sunlight, I spend time looking into each person’s eyes, connecting with their joy and grieving for their absence. The sun, the source of life, cannot revive them, yet the sunlight that creates each anthotype is the same light that once illuminated each original selfie, connecting us to one another. The resulting work is an examination of community, loss, time, and the impossible effort to extend both the life of my roses and the memory of these stolen lives.

The images below are only a small portion of the more than 100 transpeople killed in 2020 and 2021 alone.


Caleb Cole is a Midwest-born, Boston-based artist whose work addresses the opportunities and difficulties of queer belonging. Using collage, assemblage, photography, and video, they bring secondhand objects and media together for chance encounters, deliberately placing materials from different time periods into conversation with one another as a means of thinking about a lineage of queer culture while resisting a singular progressive genealogy. Caleb has received an Artadia Finalist Award, Hearst 8×10 Biennial Award, Massachusetts Cultural Council Fellowships, Magenta Flash Forward Foundation Fellowships, and Photolucida Critical Mass Finalist awards, among other distinctions. Caleb exhibits regularly at a variety of national venues and has held solo shows in Boston, New York, Chicago, and St. Louis, among others. Their work is in the permanent collections of the Museum of Fine Arts Boston, Virginia Museum of Fine Art, Museum of Fine Arts Houston, Newport Art Museum, Davis Art Museum, Brown University Art Museum, and Leslie Lohman Museum of Art. Caleb currently teaches at Boston College and Lesley University.

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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