women

Name: Photography Atelier | Artists Talk I
Start: 2023-06-27T19:00:00-04:00
End: 2023-06-27T20:00:00-04:00
Location: The Griffin Museum of Photography

Katalina Simon | Land Beyond the Forest

Posted on August 20, 2020

We are thrilled to be hosting an online conversation with Griffin exhibition artist Katalina Simon tonight, August 20th at 7pm Eastern.

For tickets see the Events page of our website.

Her beautiful series Land Beyond the Forest is hanging in our satellite gallery Griffin @ WinCam here in Winchester. The exhibition ends September 27th. We hope if you get a chance to get to Winchester you stop by and see this lovely body of work.

Katalina Simon is a British/Hungarian photographer whose work centers on the passage of time and cultural memory. Her interest in photography began when, as a child, she was told that taking pictures was not allowed in many public spaces in communist Hungary and she observed how precious photographs were to her family separated by the Iron Curtain.

Simon’s photography emphasizes her strong connection with history and the mood of the environments she photographs. Her image making is only part of a larger goal of experiencing a place, learning about a new culture or community.

Katalina holds a BA in Russian from the University of Bristol in England and is a graduate of the Professional Photography Program at the New York Institute of Photography. She is an exhibited member of the Griffin Museum of Photography in Winchester, MA, PhotoPlace Gallery in Middlebury, Vermont and Fountain Street Gallery in Boston, MA.

The Land Beyond the Forest is an ongoing series depicting a fading way of life in rural Transylvania. This mountainous and remote region of Eastern Europe is steeped in history and lore. The rugged Carpathian Mountains kept invaders at bay and kept the remote villages isolated from the passage of time.

I am drawn time and again to this region and these people because it reminds me of a way of life that I experienced at my grandparent’s village in Hungary every summer. As a child, I was oblivious to the hardships that people faced and experienced only kindness and warmth. With my camera I work to recapture this feeling of storybook wonder and show domestic tableaux and rural people as I remember them.

For this exhibition I am focusing on the last generation of women who live this traditional rural life. My hope is to show the magic and poetry of the women who inhabit the “The Land Beyond the Forest.”

Corona | J. Felice Boucher

Posted on June 10, 2020

J. Felice Boucher‘s beautiful image Goddess is one of our featured images from our online Corona exhibition. The radiant light emanating from her subject is a moving tribute to the power of a soul. Her exhibition at the Griffin in 2019, Center of Quiet, featured portraits of women facing forward and showing strength in their quiet moments. We asked her some questions about her work and how she sees light in her day.

How does light play in your work?

Light is photography. I went to visit a young photographer at her studio and she said that “old timers wait for the right light. They should just take the damn photograph and fix it in PhotoShop.” That broke my heart. It took me many years to understand light and to really see it.

We highlighted your image Goddess from Center of Quiet, an exhibition featured at the Griffin last year. The Goddess image really showcases her power and strength, radiating from her soul. How did you work with her to capture that?

I ended up photographing two beautiful sisters. I met one of the sisters at a bank where she was a teller. When I photographed her she invited her sister to join us and I photographed her too.

I love fabric and textures so I found fabrics that would highlight their gorgeous faces and skin tones. They have such strong and beautiful features so I wanted to capture those.

“Red Headed Girl” © Felice Boucher

Your images have a beautiful textural quality to them, like paintings. What led you to this technique to accentuate the quiet strength of your female subjects?

I do try to capture the strength of women in a direct sensuous but not sexual way. For me there is a huge difference between the two; sensuous and sexual. The light and texture in the Old Master paintings are compelling to me. So I add texture of colors over my photographs to give them a painterly look.

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

I haven’t photographed since the Covid-19 hit us. I had been photographing my models in a little corner of my bedroom and it is no longer a possibility to bring people into my home. But I am always photographing in my mind even without a camera in my hands. I love watching how light falls on someones face, on a landscape, or a strong shadow created by a flower in a vase.

“Forgiven”, © Felice Boucher

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

Good question. Who knows. On my walks I pass a neighbor’s mustard colored dingy and rust colored chickens in the warm evening light…that pulls at me.

About J. Felice Boucher –

J. Felice Boucher has been a photographer with a career that has spanned 27 years. She earned her BFA from the Maine College of Art, as a non-traditional student and single mother of two young children. And was awarded the Master Degree, Craftsmanship Certification by the Professional Photographers of America. She opened her photography business and photographed weddings, portraits and commercial projects both locally and around the country for over 23 years. Recently she has given up the wedding and portrait work and now focuses on real estate photography and her fine are work. Her fine art photography has appeared in museums, galleries and private collectors.

Corona | Blythe King

Posted on May 15, 2020

Today’s featured Corona artist is Blythe King. A featured artist in 2017 in our Griffin online gallery, Blythe’s creative constructions of women radiate out of our screens. Combining materials to elevate ordinary women to extraordinary beings, her work exemplifies the internal manifestation embodying light and life. We asked her a few questions about her work and how light fills her day.

A central focus of the Corona exhibition is based in light, both external and internal. Your portraits exude light and life. How does light play into your work?

My subjects are radiant beings. Transparent layers let light in and invite us to look beneath the surface. These women are liberated to reveal each individual’s complex, boundless nature.

My work transforms photographs of models from Montgomery Ward mail order catalogs (circa 1940-80) into evocative multi-layered portraits. Because subjects are freed from the social expectations and stereotypes of their original context of commodification, they shine anew.

Gold leafing animates my work. As light changes throughout the day, it alters the appearance of my portraits — illuminating the figure, making it flicker, casting a shadow.

Can you talk about how religion, faith and spirituality are infused in the work?

My subjects begin as mere clippings from discarded, forgotten Montgomery Ward catalogs. The models were presented superficially. It’s advertising. But through collage, gold leafing, and other techniques, they re-emerge and become a source of wonder and intrigue. It’s divinization.

I notice parallels between the poses, gazes, and hand gestures of fashion models in advertising and deities in Buddhist and Hindu art. I combine religious imagery with commercial images of women to create a pantheon of sorts. The women in my work strike me as familiar — but with a difference. They stand out to me because I see something extraordinary in them. My impulse is to honor them.

I hold an MA in Buddhism and Art from the University of Colorado, with undergraduate studies in Japanese religion and art at the University of Richmond. I’m a practitioner of Zen Buddhism. My experiences lead me to question how our conditioning — be it social, cultural, environmental, genetic — places limitations on how we understand who we are. Zen is liberating. It beckons a fundamental shift in perspective.

How did you first find the idea to combine materials? What was the moment you knew you had found your process to showcase your vision. What was the first image that was a result of that combination of layers?

I like that you asked how I “found” my process. It brings to mind the question that inspired Rebecca Solnit’s book, A Field Guide to Getting Lost: “How will you go about finding that thing the nature of which is totally unknown to you?”

Making art is one path. For me, it’s applying the sum of my experiences. Through artistic experimentation, I’ve discovered a way to combine and further activate my interests in popular culture, vintage imagery, Buddhist philosophy, Japanese art, old paper, and feminist philosophy.

By removing limitations imposed by our conditioning, and opening possibilities for the ways we understand who we are, I find clarity. I’ve breathed life into old mail-order catalogs for almost 8 years. “Moonbathing” was the first commercial clipping to be divinized.

And thank you for mentioning “that combination of layers” in my work. It’s all done by hand. It’s important to me that the viewer see and feel how the physical layers — skins, if you will — interact. The image transfer process is my own. I arrived at it after overcoming the restrictions in hand-cut collages. My first body of work, “How to Take a Compliment,” presents subjects at their original scale. Since then, I’ve amplified and reduced subjects through scanning. That has made pieces more intimate or larger than life.

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

Survival is a means to coronation. My subjects were mere paper but have lasted more than a half century to now stand as supernatural queens. We too can adapt and become our greatest selves through challenges.

There’s a cemetery near my home. I walk there because it’s perfect for social distancing. But I’m also taken by how beautiful the flowers and trees blossom in a place that honors death. I’m reminded of the Hindu goddess, Kali, who is at once a destructive and creative force.

Placed in this light, a pandemic is not only temporary but also a path to renewal. It’s part of the perfection, if you will.

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

I have a solo exhibition coming in the fall of 2021 at Eric Schindler Gallery here in Richmond (VA, USA). I’ll have a whole new collection ready for that.

I’ve dreamed of being hired by Montgomery Ward as their collage artist. They’re still in business. I have convincing to do.

About Blythe King

Blythe King is a rising talent who currently breaks new ground in photography, collage, and the ancient art of gold leafing. Born in Pittsburgh in 1977, her work is heavily influenced by two legacies — the whimsical, social commentary of hometown hero Andy Warhol forged with traditional Steel Town resolve. King studied religion and art at the University of Richmond and the University of Colorado. She practiced Zen calligraphy with Stephen Addiss (The Art of Zen).

But it was a textile startup in quaint Breaux Bridge, Louisiana that brought her journey into focus. For iSockits, King fashioned wildly-successful tablet covers from vintage women’s shirts. Her latest fine art project, “Two Sides of the Same Coin,” is exceptional for its delicate but moving revelations. She rescues clippings from a range of vintage catalogs to open a fresh discourse around women’s issues. In addition to her art, King teaches creativity to underserved communities in Richmond, VA.

You can see more of Blythe King‘s work on her website.

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