corona

Atelier 32 | Simone Brogini

Posted on September 24, 2020

In today’s highlight of our Atelier 32 exhibition, we look at the work of Simone Brogini, featured here and tonight in our Artist Talk in conversation with Miren Etcheverry and Conrad Gees. Join us for a discussion about creativity in a pandemic, learning online, and the creativity that can come from life under a new normal. In order for us to learn more about Simone’s creativity, we asked him a few questions. Which of these images was the impetus for this series? How did it inform how you completed the series?

As the pandemic kept us all home, I was looking at my empty street with no activity from us or our neighbors. I wanted to capture this emptiness and I started to photograph the homes around us. At first I just took images from my camera showing the surrounding neighborhood. Then, as we were living in isolation it was almost like being in a bubble, so I started to experiment taking the same kind of images through an empty glass. I was intrigued by the results and liked the rounded vision that represents the new world seen from within this imaginary bubble. From then I started to represents in the same way our life as a family living in this imaginary bubble, so I introduced moment of our life from inside our home such as smart working, remote school learning, moment of fun, and fear to get out even wearing a mask. What do you hope we as viewers take away from viewing your work?

We are living in this weird moment of our life with a worldwide pandemic which changed our reality. This imaginary bubble wants to represent the emptiness and the silence we have been living in for so long. No noise on the street, no cars, no children screaming, parks were empty. The images want to represent this but also passing from the fear of getting out of the house wearing masks, to the hope of being able to get back to our normal life soon. This hope is represented from the images showing some color of nature and looking at blossoming flowers. How the Atelier has helped you hone your vision as an artist?

I have been taking images for a long time but probably have never seen them from a fine art point of view. This happened through the classes and the feedbacks I received from Meg and my other colleagues who pushed me to step out from my comfort zone and experiment with something different. In fact, my first attempt to a project was to photograph the emptiness of our cities with B&W images. I really liked those images, but I received comments of being a theme already seen. From then I started to work with a new mindset using some ideas I had through the class assignment, which was the abstract theme when I started to shoot through a glass. It was a complete change, but pointed me into the right direction. Tell us what is next for you creatively.

For my next step, I am certainly using what I have learned with the Atelier, which is to identify a project and stick with it. I don’t know yet what this next project will be for me, have few ideas but are not yet defined. For sure I will retrying from taking random images not linked to a defined project or not linked into any type of stories I would like to tell. The Atelier had surely taught me how to see through my camera in a different way. You can see more of Simone Brogini‘s work on his website. Find him on Instagram at @simonebrogini

Atelier 32 | Claudia Ruiz-Gustafson

Posted on September 18, 2020

Claudia Ruiz Gustafson is our focus today. A member of the Atelier community, her work was featured last month in the Griffin Member’s Exhibition curated by Alexa Dilworth. Still exploring a very personal story of family and home, we now see a new side of her creativity with a project inspired by the pandemic, Suspended World, for Atelier 32. An interactive work, there is a slide show and video to accompany the work now up on the walls of the Griffin. We asked her a few questions to learn more about the work.

Which of these images was the impetus for this series? How did it inform how you completed the series?

When I joined Atelier 32, my idea was to continue working on my family project. When we started the classes and the pandemic hit us and we were asked to stay home, everything changed for me. The stay at home advisory and the cancellation of my art shows and my work for the remaining of this year really hit me. I felt very depressed and was considering dropping off from the Atelier. I know Meg was very nervous moving the Atelier online and I didn’t want to disappoint her, so I decided to stay. I couldn’t produce any new work for the first couple of weeks but gradually as I was working on a “image + text’ homework, it all started to make sense. Using my body to mirror my state of mind, I followed my instincts and produced three mini bodies of work, one in each room in my house. At the end I decided to create a slideshow to show my images and poetry together set to music.

What do you hope we as viewers take away from viewing your work?

My intention with this body of work is to express the endless possibility of photography for being a vehicle of self expression, a way to reflect your inner life, your emotions and so that viewers could relate to the work in any way that is meaningful for them.

How has the Atelier helped you hone your vision as an artist?

The Atelier has been a life changing event for me, since my first one I took back in 2014 to the one I recently took. I found a mentor in Meg and Paula and a community of like minded people, many of them who have become my best friends.

Tell us what is next for you creatively.
I am waiting for the airport in Peru to open to visit my family and to continue working on a video that will be an extension of my family project.

About Claudia Ruiz Gustafson –

Claudia Ruiz Gustafson is a Peruvian-born, Massachusetts-based visual artist, educator and curator. Her work is mainly autobiographical and self-reflective; often portraying themes of femininity, memory, dreams and personal mythology. She regards image making as a powerful medium for exploring her inner world.

Claudia has exhibited in museums and galleries across the US and abroad at venues including the Danforth Art Museum, Agora Gallery, Millepiani Gallery, Galleria Valid Foto, Fountain Street Gallery, Griffin Museum of Photography, Cambridge Art Association, Concord Center for the Arts and the RI Center for Photographic Arts. She had her first solo show in 2020 at the Multicultural Arts Center in Cambridge, MA titled Historias de Tierra y Mar (Stories of Land and Sea).

She has received grants and awards from the Massachusetts Cultural Council, the Cambridge Art Association, L.A. Photo Curator: Global Photography Awards, PX3 de la Photographie Paris, The Gala Awards, among others. Her work has been published in Fraction Media, Black & White Magazine, Shades Collective, F-Stop Magazine and has been reviewed by Artscope Magazine, Metrowest Daily News and What Will You Remember.

Claudia has self published several books that incorporate her photography and poetry. She is the owner of a portrait photography business and also teaches creative photo workshops in the Boston area. Currently she is curator and participating artist of the traveling exhibition Crossing Cultures: Family, Memory and Displacement, a multi-media project made up of artwork created by multi-cultural artists reflecting on identity and diaspora.

She holds a BA in Communications from Universidad de Lima, and a Professional Photography Certificate from Kodak Interamericana de Perú.

5% of the net income from her fine art and portrait business goes to benefit two organizations: 1. Humane Society of the US, an organization that provides direct care to more than 100,000 animals each year through their sanctuaries, veterinary programs and emergency shelters and rescues and 2. Farm Sanctuary, an organization that advocates for farmed animals, promotes laws and policies that support animal welfare, animal protection, and veganism through rescue, education, and advocacy.

See more of Claudia Ruiz-Gustafson‘s work on her website. Find her onInstagram @claudiaruizgustafson

Atelier 32 | Adrien Bisson

Posted on September 14, 2020

Today we are pleased to present Atelier 32 member Adrien Bisson and his project – Alone Together, looking at the 90 days of sheltering in place during COVID.

Atelier 32 is on the walls of the Griffin until September 27th. The museum is open by appointment. We look forward to seeing you in a safe and healthy way to experience the talented Griffin artists community.

Which of these images was the impetus for this series? How did it inform how you completed the series?

I had been doing some still life images in my condo in mid-March of this year, just as most of us had become aware of the scale of the pandemic. It quickly became clear that “normal” life was going to be changed for some time. Over the weeks of the Atelier I began to realized that my project had to be a story about my newly-limited world in the condo. The photo called “On the sill” was one of the first that became part of the project and still reminds me of that early period of self-isolation, feeling unable to do much, while at the same time mourning the separation that my wife and I felt from my son and his family. The sill on which the herb plantings were placed was our window to the outside world, and the pots contained images of our granddaughter whom we could only see in photos and FaceTime.

What do you hope we as viewers take away from viewing your work?

Everyone has their own stories about the pandemic, and mine is just one of them. Part of my story is simply about our lives together in those first months, but another part is about my desire to make something come out of that isolation and to work with the limitations that were imposed on me.

How the Atelier has helped you hone your vision as an artist?

Working those weeks with Meg and the rest of the group really helped me think through and refine a vision for a project. It was incredibly helpful to get criticism and feedback on what I would produce each week, as well as to be able to see the work that the others were creating and having the opportunity to formulate and express my thoughts about it.

Tell us what is next for you creatively.

I have been working for a year or so on a project about the small town in which I grew up. Because my introduction to photography came at that time and place, I am working with a toy camera in black and white for this project. I am also working on a project about the Merrimack River, which starts in the White Mountains, runs along the building in which I live, and ends up emptying into the Atlantic, in Newburyport, and how it affects the daily lives of those of us while live by it.

To see more of Adrien’s work – find it online on his website, and social media.
Web site: adrienbisson.com

Instagram: @adrien_bisson

Facebook: www.facebook.com/adrienbisson

Facebook Page: www.facebook.com/AdrienBissonPhotography

Corona | Leslie Jean-Bart

Posted on May 14, 2020

In our newest online exhibition, Corona, we seek to illuminate the best part of our lives and lift us out of darkness. This is a difficult time, and we want to let the light in, lifting our souls into the light.

In science terms, a “corona” is a usually colored circle often seen around and close to a luminous body (such as the sun or moon) caused by diffraction produced by suspended droplets or occasionally particles of dust.

There is no greater way to celebrate our exhibition with the first in a series of interviews with the image makers that inspire us, lift us and show us how to find light in our day.

Today’s featured artist is Leslie Jean-Bart. The Griffin first highlighted his work in 2017, and we look back at it today as we talk to Leslie about this series, light and the idea of Corona.

How does light play in your work?

Person and reflection © Leslie Jean-Bart

To have the shadow and the silhouette aligned as wanted, I needed not just the light, but also a certain angle of the light.

I never fail to see, to observe, and to follow the light. The presence and/or the lack of the presence of light at any degree is the key to it all for me. It is one of the fundamental elements that currently informs most of my work.

In your series Reality & Imagination you use the tidal reflection to illuminate life. Did you find the reflection first? Or did the reflections find you?

The most effective and efficient way for me to answer this second question about my use of the tidal reflection to illuminate life and as to whether I found the reflection first or the other way around would perhaps be for me to speak a bit in general about the framework of the segments of “Reality & Imagination” that these images are a part of.

My process there is a way of seeing driven by a frame of mind at the service of an idea. What I mean exactly is, I chose to accept the upside down world to being as important as if not more so than the right-side up world (frame of mind) as a context within which to explore the interaction that takes place between the culture of the host country and the culture of the immigrant living permanently abroad (idea), while I make use of the movement/motion of the tide with the sand to combine that frame of mind with that idea to tease life from the combination (way of seeing). Because of the frame of mind in use, the images created pull the viewer into a world that seems instantaneously both familiar and unfamiliar. The essence of creating that world is not only in the physical aspect of making the image, but even more so, in the frame of mind that permits me to find the suitable environment to interplay the combined elements.

Of course, light, timing, composition, patience, purpose, idea(s), being in the moment, being flexible, are all engaged in creating the image as the tide continuously and rapidly transforms each tableau anew in a fraction of a second. I have to remain focused and be present.

How did you first find the idea to capture contrast in organic shape and texture with the hard edge of light reflection?

It all came about by my need to support the phase of the idea I was exploring at that particular time.

There were a myriad of possibilities in the surroundings of the tide. It was simply a matter of observing, closely evaluating, and selecting an appropriate form(s).

How can a dominant culture be defined vs a culture that’s a guest? After careful evaluation, it was an obvious choice. A silhouette which is more solid, was to represent the host culture. The shadow which is more transparent was to represent the guest culture. By the way, both the silhouette as well as the shadow cannot exist without the presence of light. So there is a common need there. A common need also exists between the host culture and the immigrant culture. The Corona virus has made that definitely overtly apparent.

As I worked on each segment I mentally assigned a very loose characteristic or definition to that given segment. One segment was, say, where the host culture was in charge/doing the viewing, another was the immigrant interacting/doing the watching within the host culture, another was the immigrant culture interacting within its own community. How and what I shot at that particular time was very much influenced by the loose characteristics I assigned to that segment and whatever related thoughts were wafting in my mind on that subject.

But no matter how loose the given characteristics or definitions were, there is one physical element that I always defined for myself in a singular fashion. That element was the thin white/silvery line of light that sliced in one fashion or another through the frame. I always saw it in some form or another as the dividing line, as the border and entry point between the two cultures.

As a way to give a better understanding of what goes on during the actual shoot, let’s follow through with the last line from my answer to question above, “I have to remain focused and be present”.

My being completely present means that all research done and/or any thoughts about particular idea(s) are relegated to the deep recess of the mind. It is as if all information were stored in the electronic cloud, and the pertinent bit of information automatically downloaded itself to fluidly inform the image making process. The downloading happened so fluidly pure and fast that physical recognition at that particular moment is of no practical use and so that physical function is disengaged. (Only at the end of the shooting day while reviewing the images does the physical consciousness fully reengaged in that process, and the image files completely expanded themselves to fully reveal their contents. As I focus on an image of interest during the review, what took place at that moment while shooting is vividly replayed in my head.) It’s a surrender to what is, a surrender to the moment while absolutely not losing oneself.

That process of seeing has also become some sort of a blueprint of life for me. I always try to remain open, and to remain present, without losing a sense of myself.

In this time of Corona, how do you find light in your day?

I try to create, that always brings in the light, especially when it’s all flowing. But a sure boost is to blast music at a high decibel with the headphone on for a short period of time. Unwise, but it works and it’s fun. Am spending time making videos about what I am doing, and how the shelter-in-place is affecting me.

What is next for you creatively? What are you working on?

I just completed a new series titled “Echoes of Past Present”

Two short videos from the ones I have been making gives a visual idea about the series. Please see links below to view. The first link is the very first video done.

Echoes of Past Present Video One. Echoes of the Past Present Video Two.

About Leslie Jean-Bart

Born in Haiti where he acquired his love for the ocean, Leslie Jean-Bart has been living in New York City since he arrived in the US in 1967. After earning a master’s degree in Journalism from Columbia University, Jean-Bart embarked on a photography career that resulted in the creation of images that have garnered awards and recognition.

Earlier days found Jean-Bart on staff at Sotheby’s and Christie’s where he was surrounded daily by the world’s greatest art. Freelance assignments took him all over the world, as he shot for clients in Japan, Brazil, Iceland, Cyprus and Portugal. His commitment to his craft and his defined vision, resulted in a variety of commercial projects, and several published award winning books. A special collage project of Billie Holiday and Charlie Parker for the Verve Music Group was cited for excellence.

Jean-Bart began exhibiting in 2001, when a number of his collages were part of the exhibit “Committed To The Image: Contemporary Black Photographers” at The Brooklyn Museum. From 2001-2003 he took part in a number of group exhibits at Monique Goldstrom Gallery
in SoHo, NYC.

During the last several years Jean-Bart put his career, but not his art on hold. Committed to the care of his mother who has dementia, Jean-Bart became her daily guardian. During this very trying time he soothed his soul by photographing water and reflections. The call to somehow combine the ocean or water and the camera was never far from his mind during the past two decades, and in 2009 the call became a mission and a project was birthed.

The ensuing series titled “Reality and Imagination“ is the culmination of years of working the science and magic that is photography and a never ending love of water, light, shape, form and collage.

To see more of Leslie Jean-Bart‘s work, visit his website.

Corona | Online Exhibition 2020

Posted on April 27, 2020

It’s spring, and we are all physically distanced and living via the interwebs to have shared experiences. At a time of renewal, time of reawakening, we are all yearning to break free. We hope to get outside, see the blooms on the trees, breathe deeply of fresh air, unafraid of life in the time of Corona.

Let’s brighten our outlook on Corona. In science terms, a Corona is a usually colored circle often seen around and close to a luminous body (such as the sun or moon) caused by diffraction produced by suspended droplets or occasionally particles of dust.

We want you to share your light with us. Send us your images of sunshine, light and spring. Metaphor, abstraction and suggestion of sunlight in addition to representational concepts are welcome.

We are looking forward to your visual contributions with our creative community.

It is NOT about the virus. There are other calls you can submit to for this. Because of what we have been receiving, we are going to have to change our rules that we will not be including everything that is submitted. We thought we were clear in our call. We provided 6 examples. We may respond to you and ask you to submit another image, but because there is not much time we may just remove it and move on. We are sorry for the confusion. – PT

corona

Footer