VIEW IN MY ROOM
United States
Photography, Color on Paper
Size: 24 W x 36 H x 0.1 D in
Ships in a Tube
Shipping included
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Artist featured in a collection
This piece (and several others) were created in the Summer of 2019 on a trip to visit my father in Livermore, California. He is a retired U.S.A.F. pilot who now flies air shows and teaches others to fly. He has taken us on many flights over the years, but this trip up was specifically intended for me to create a few art pieces. In the Spring of 2019, I had seen a few abstract pieces that resembled aerial views of land and water, and a few others that were huge canvases of variations on one color. I was certain I could "find" these images already existing in the "real world." My goal was to study the natural color shifts, the lines and patterns created by wind and water, the patterns and interplay of light and shadow as seen from above. I know drone photography has vastly improved over the last several years, but it's not really for me. I want to get up there myself-- experience flight and bond with my dad (and my younger son, who came along for the ride.) Shooting from the open window of a plane has its challenges: there is a good bit of camera shake and you have to try to keep the plane out of your composition because you can't lean out like you might in a helicopter. I was excited to get so many beautiful images from that flight. We didn't have time to go up again before we had to come home, but I loved it and we have plans to fly again soon. I'm looking forward to exploring the landscape of Austin and the surrounding Hill Country from above. Paper Trim 24x36 Image 23x35 | Limited Edition of 10 Paper Trim 16x24 Image 15x23 | Limited Edition of 25 Paper Trim 12x18 Image 11x17 | Limited Edition of 50 All originals are printed on smooth and beautiful Epson Hot Press Bright archival paper. Each piece will be signed and numbered on the front and shipped with a certificate of authenticity.
Photography:Color on Paper
Artist Produced Limited Edition of:10
Size:24 W x 36 H x 0.1 D in
Frame:Not Framed
Ready to Hang:Not applicable
Packaging:Ships Rolled in a Tube
Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.
Handling:Ships rolled in a tube. Artists are responsible for packaging and adhering to Saatchi Art’s packaging guidelines.
Ships From:United States.
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United States
There is a space between the mundane and the mythical where I’d like my images to reside. Larry Sultan refers to it as “that ambiguity…between the ordinary and the surreal or the extraordinary.” Like Sultan, I prefer to find that in what already exists rather than to create a set or build it in Photoshop. There is plenty of magic in the everyday if one pays attention, and it doesn’t have to be bold and busy. It can be still and quiet, hinting at a narrative, as in the work of Joyce Tenneson, Cig Harvey, William Eggleston, and Vivian Maier. As much as, or probably more than other photographers, though, my influences are literary. The presence of grace or magic in the ordinary characters and situations of a Flannery O’Connor or John Updike story dabble in the realm of the absurd in a quotidian setting. Like so many enduring stories, with my work I attempt to investigate and better understand what it means to be human: a recognition of otherness as well as of self. I am still blown away that other people will commit so intently to helping me bring an idea to life. With my first series, Beautiful Madness, I buried friends in crumpled paper, covered them in writing and paint, wrapped them in yarn and burned their fingertips with matches in an effort to depict the obsession and frustration that can consume a creative person who is unable to create. For my part, I spent two days staining and crumpling paper until my hands were cut and bleeding. I wrapped an entire piano (and my husband) with yarn, pulled up the carpet in my room and wallpapered two walls just to peel it all off and leave it in strips on the floor. When I begin considering a new project, I think about what I want to know about the subject, how I might translate that visually, and what new perspective I could offer. What can I do in the physical realm to prevent having to do it in post-processing? This part of the process takes a long time, sometimes months or a year of meditation and contemplation for me to make the first picture. Often, I have to force myself to schedule the first shoot before I feel ready—decide that I’ve got a strong enough foundation from which to leap. With the Architecture of Women series, the leap was a self-portrait in my bedroom. I liked the suggestion of intimacy, while the smudged mirror and unrecognizable face allowed for distance. For the project, I asked women I knew (no models,) and I sat beside them rather than stand in front of them with the camera.
Artist featured by Saatchi Art in a collection
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