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Posted on June 25, 2018

The Infinite Internal
Rachel Fein-Smolinski
September 11 – October 5, 2018

Reception September 16, 2018

room with wall banners and furniture.
© Rachel Fein-Smolinski
abstract
checked floor
© Rachel Fein-Smolinski

skeleton
© Rachel Fein-Smolinski
box
© Rachel Fein-Smolinski
room
© Rachel Fein-Smolinski

room
© Rachel Fein-Smolinski

The 2017 award for the John Chervinsky Emerging Scholarship has gone to photographer Rachel Fein-Smolinski

The judges, said, “We are pleased to award the 2017 John Chervinsky Scholarship to Rachel Fein-Smolinski. Rachel’s plunge into science-and-visual-expression, her experimentation with imagery and presentation in the service of her ideas, and a special energy all come through in her uniquely provocative work. While not a requirement of this award, and quite different in form, she and John share the spirit of scientific inquiry, making this all the sweeter.”

John Chervinsky Emerging Photographer Scholarship awards 2017 Press Release

Fein-Smolinski submitted The Infinite Internal for consideration for the scholarship. Fein-Smolinski says of the body of work:

“The Infinite Internal has three chapters: “The Sex Lives of Animals without Backbones”, “A Science of Desirable/Detestable Bodies”, and “The Prosthetic Practice for the Healing of Imaginary Wounds” that integrate disparate imagery, from highly stylized documents, photographs, videos of dissections, and sourced diagrams from scientific education materials used to create spaces that probe the relationship that intellectualism has with authority, gender, sexuality, and psychology. Intellectualism has historically been a saving grace for disenfranchised cultural groups, heavily associated with people of Jewish descent and those who identify as women. As someone who is both of those things, I have been carrying out my own experiments, spending time with DIY scientists and creating installation spaces that visualize science fiction stories of DIY biology and medical procedures that appropriate the authority of the bio-medical field. I print large format images created through microscopy and coat them in resin. Resin being a substance that is used in the preservation of organisms. I use clinical lighting like x-ray viewing machines to show transparencies that I produce in the darkroom on lith-film from archival scientific educational slides, carry out at home dissections of organs and organisms, grow crystals which I document via time-lapse, use alternative printing processes that reference the history of women in science like cyanotypes referencing Anna Atkins botany prints and black and white documentation of physical principles appropriated from an archive of scientific educational slides, referencing Berenice Abbot’ s work producing images for MIT’s Physics department. A vital aspect of this work is the installations, which address the images as objects themselves, amongst a world of objects that hold visual pleasure on the same level as intellectual rigor, using institutional, experimental, educational, and commercial display methods.”

Rachel Fein-Smolinski’s Statement of Purpose:

“My work is about pleasure, neurosis, objectivity and subjectivity. It is about the visceral and visual satisfaction associated with the history of the documentation and depiction of bio- medical phenomena. I use a mixture of the visual indulgence of high commerce, the sacred and compulsive laboratory space, and the expansive mode of science fiction and its ability to appropriate the authority of knowledge to create speculative installation spaces in the visual field. I look at what the relationship between neurosis, intelligence, subjectivity, objectivity and visual indulgence is within the history of the pursuit of knowledge.

The history of science has held fast to the aesthetic of objective authority, with observation as the primary source of knowledge in scientific inquiry. I scrutinize the bio-medical and techno-scientific gaze, using its authority to create discreet objects, incorporating photography, video and sculpture to search for the neurotic impetus within the fields of intellectual pursuit.

I use an alter-ego, a caricature of a neurotic, intellectual hero, constructed from cultural signifiers, as a Jewish woman, raised with a cultural identity that idealizes intellect to the point of fetishization. This is a stylized performance of a masculine archetype (yes, I am exploring what it means to be a woman through the usage of masculinity and its historical relationship to authority) used in science fiction, tv doctor dramas, and retellings of the histories of technological advancement. Intellectual inquiry is a socially acceptable form of obsessive, and scopophilic (visually indulgent) behavior. It is a space where unhealthy impulses are sublimated into the field of intellectual pursuit. All is forgiven if the hero’s brilliance outshines their character flaws.

Bio-medical exploration is a fantasy of constant visibility. To see is to know, and to know is to succeed. With techniques like dissections, bodies are eviscerated so that the spectator can incorporate the sight of the others’ internal organs into their own body of knowledge. Or microscopy, where an imaging apparatus is used to augment the viewer’s vision in order to look at, and infer new knowledge from, otherwise invisible mechanisms, ideally infinitely. However, as there is no such thing as a purely objective gaze—observation is always tied to a host of psychological associations. To see is to concurrently project and consume. Through this play-acting of biological experiments and procedures, I tease out the role of visual pleasure in intellectual inquiry, resulting in installation spaces that reproduce the clinical, experimental, and educational. In this way, I explore what Foucault described in his 1963 book The Birth of the Clinic: An Archaeology of Medical Perception, as “…that region of ‘subjective symptoms’ that—for the doctor—defines not the mode of knowledge, but the world of objects to be known.” ”

 

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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