VIEW IN MY ROOM
United States
Photography, Color on Paper
Size: 36 W x 24 H x 0.1 D in
Ships in a Tube
Shipping included
Artist Recognition
Artist featured in a collection
Generally, I am known to include people in my work. I prepare, plan and collaborate with others to make a work of art. Often I spend hours working and creating in Photoshop to make something surreal and fantastic. It's become a sort of escape for me to simply go out with my camera in search of art that already exists in the everyday, to NOTICE more than make. On these occasions, it is always my goal to do little or no manipulating in post-processing. I took this photo looking out the window of the plane on my way to visit family in Mississippi. Paper Trim 24x36 Image 21.75x29 | Limited Edition of 25 Paper Trim 18x24 Image 15x20 | Limited Edition of 35 Paper Trim 11x14 Image 9x12 | 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 back and shipped with a certificate of authenticity.
Photography:Color on Paper
Artist Produced Limited Edition of:25
Size:36 W x 24 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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