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We Are Fragments (18x18) - Limited Edition of 175 Photograph

Christie Stockstill

United States

Photography, Digital on Paper

Size: 18 W x 18 H x 0.1 D in

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$390

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170 Views

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ABOUT THE ARTWORK

“A human being is part of the whole, called by us the Universe, a part limited in time and space. He experiences himself, his thoughts and feelings, as something separate from the rest —-a kind of optical delusion of consciousness. The delusion is a prison, restricting us to our personal desires and to affection for a few persons nearest to us. Our task must be to free ourselves by widening our circle of compassion to embrace all living creatures and the whole of nature in its beauty.” -Albert Einstein This new body of work was running through my mind last year. I was thinking, planning, sketching... I finally scheduled and shot the first two images in February right before the pandemic shut everything down. I've been able to make two more images since then by working with people who are safe to touch one another and be in each other's space, even as I remain masked and distant. Each of these limited edition pieces will be printed on minimally textured Hahnëmuhle fine art paper and numbered & signed in the bottom right corner. Sizes/Editions 24x24" trim; 22x22" image, centered LE of 100 18x18" trim; 16x16" image, centered LE of 175 14x14" trim; 12x12" image, centered LE of 250 Visit my website for more information: www.christiestockstill.com

DETAILS AND DIMENSIONS
Photography:

Digital on Paper

Artist Produced Limited Edition of:

175

Size:

18 W x 18 H x 0.1 D in

SHIPPING AND RETURNS
Delivery Time:

Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.

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.

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