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Posted on November 27, 2018

Selections from C. J. Pressma's Evidence and Inhabitants Series
C. J. Pressma
December 3 – March 3, 2019
  • Abandoned house at night opens IMAGE file
    © C. J. Pressma, "Abandoned House" from "Evidence" Series
  • legs on a beach at night opens IMAGE file
    © C. J. Pressma, "Honeymoon On The Beach" from "Evidence" Series
  • Frozen truck opens IMAGE file
    © C. J. Pressma, "Cold Night" from "Evidence" Series
  • Street sign at night opens IMAGE file
    © C. J. Pressma, "New Orleans Bus Stop" from "Evidence" Series
  • Garage and mailbox opens IMAGE file
    © C. J. Pressma, "New Orleans Ten Years After" from "Evidence" Series
  • Cemetery at night opens IMAGE file
    © C. J. Pressma, "Cemeterry Lillies" from "Evidence" Series
  • Buried tire opens IMAGE file
    © C. J. Pressma, "Unburied Relic" from "Evidence" Series
  • Bones opens IMAGE file
    © C. J. Pressma, "Whose Bones?" from "Evidence" Series
  • Steer opens IMAGE file
    © C. J. Pressma, "Lone cow near Ranch Ruins" from "Evidence" Series
  • Side of a barn opens IMAGE file
    © C. J. Pressma, "Watch Dogs" from "Evidence" Series
  • Person in rocky yard at night opens IMAGE file
    © C. J. Pressma, "Shooting Range" from "Evidence" Series
  • Shadow of a man on a brick wall opens IMAGE file
    © C. J. Pressma, "Belchete Wall" from "Evidence" Series
  • Man opens IMAGE file
    © C. J. Pressma, "Fiddler" from "Inhabitants" Series
  • Man opens IMAGE file
    © C. J. Pressma, "Villager" from "Inhabitants" Series
  • Man with mask on opens IMAGE file
    © C. J. Pressma, "Eyes", from "Inhabitants" Series

Artist Statement
Evidence and Inhabitants Series
In 1972 I was watching the Fellini film Roma and was captivated by splashes of light involving sparks from a street car at night. It seems strange to me (almost absurd) that such a momentary scene became a motivation for an entire body of work that is interwoven throughout my artistic career. I call this series Evidence and Inhabitants. They are the evidence of places and people I can never fully remember, but manifest themselves in the photographs I make. Today, I am still discovering what this work reveals to me. It’s dark nature and surreal quality causes me to think that it constitutes a narrative about my subconscious life. I have always been interested in surreal art and this interest has caused me to be influenced by the photographic works of Manuel Alvarez Bravo, Clarence John Laughlin, Ralph Eugene Meatyard, and Frederick Sommer. Their work has inspired me to create the Evidence and Inhabitants pictures. I have been drawn to make these pictures in abandoned places and of inhabitants who might have or may still be living there. I search for the “evidence” of humans where very few humans currently reside. I am like an archaeologist sifting through a dream-like landscape trying to imagine what these people were like. – CJP

Bio
C. J. Pressma is a graduate of Antioch College and holds an M.F.A. in Photography from Indiana University. He studied as a special graduate student with Minor White at MIT and with Henry Holmes Smith at Indiana University. In 1970 he founded the Center for Photographic Studies – an alternative school of creative photography. The Center provided a full-time learning experience for those seeking to explore photography as creative expression. Its two galleries provided monthly photographic exhibits featuring the works of local, regional, and internationally acclaimed photographic artists such as Ansel Adams and Minor White.

In 1978 Pressma was awarded a National Endowment Fellowship in Photography. In 1979 Pressma embarked on a career as a multimedia producer and marketing communications specialist. In 1984, his seven part series Witness to the Holocaust, was released in the U.S. and Canada where it remains in distribution today. One of the first productions to use survivor interviews as the exclusive content to tell the story of the Holocaust, Witness to the Holocaust has received numerous national awards.

In December 2001 Pressma was awarded an Al Smith Fellowship by the Kentucky Arts council. Also In 2001 Pressma was selected as one of 84 artists worldwide for the landmark exhibition Digital Printmaking Now at the Brooklyn Museum of Art. Pressma’s career includes numerous solo and group exhibitions in the United States, Canada, and Ireland. His work is included in the collections of the Speed Art Museum, The University of Louisville’s Photographic Archive , and the National Gallery of Canada.  – CJP

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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.

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