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Paul’s Final Presentation: Includes Salt Prints, Cyanotypes, Fujiroid lifts, wax embellishment-stitching, overpainting, collage, liquid light, selenium toning, photo sculptures, weaving.

Paul’s Artist Statement

This body of work is a complete departure from my classical silver gelatin printing. This required a shift from looking at the print as a contained image, to visualizing an image which I could manipulate and embellish. I first began by cutting up my contact sheets and weaving them, then printing images, painting onto them, and applying organic materials. To me this was almost a beautiful disrespect to my prior sensibility, especially transferring images onto atypical surfaces, such as wood, metal, fabrics, and animal hide. Working sculpturally and in three dimensions has enhanced my awareness of how an image can exist as an interactive object. Pursuing mediums that allow photographs to be incorporated as objects with utilitarian and social design elements intrigues me.

3 thoughts on “Paul

  1. Paul,

    The Fujiroid lifts are by far my favorite. I love how you made your sculptures with photos of a women’s body. I feel like each block helps give attention to each section of the body. Your collage looks great as well, Its busy but to me has motion too. I don’t know why but when I look at it, it looks like I’m at the bottom of the ocean.


  2. Paul, you know I’m a big fan of yours. My favorite pieces you made for this class are definitely the 3D woodblocks. You’re so creative, and the images are just hauntingly beautiful. They came out great.

    Also, like I said during the final critique, I love your collage and Fujiroid transfers. When my Polaroid and Fuji Instax get here, let’s go adventuring!



  3. Paul, I think your experiments this semester have yielded some very complex possibilities but without a doubt–some clarity in terms of your next move. Working with various processes and techniques really helped you to refine your intention in working with the nude or sexuality as subject matter. Changing materials especially disrupting the surface-and thinking more about scale and presentation forces you to ask important questions about how you want the viewer to engage with this imagery. This is a big part of understanding a new working method-how much do you want the work to be subjective with the photographer’s intention clearly evident vs making the work more objective with the viewer having a direct relationship to the subject matter – thus relating more to their interior self, rather than yours. Decisions regarding the surface of print and Interactive elements or choices of installation deeply influence these states of observation and experience.

    I really like that you starting putting some more classical objects in with the nudes per my suggestions–creates a tension in terms of how these types of images can have a conversation with images outside of themselves they reference. This elevates them to a whole other level that is less personal-and more “art historical” which I think makes them more classical-but not trite or cliche–much more subversive given the nature of the sex worker as model–form follows function kind of thing..

    The wood sculptures are wonderful-love that they rotate–I see them as totems–which has so much symbolic significance–yet the images you chose are so ethereal and less defined–again an interesting push and pull of content and material–(this is how it works!)-wonder how they would look towering or if you manipulated various surfaces on them–think how ornate and detailed totem poles are!! Referencing classical or primitive art in your work might really be inspiring for you–take a closer look at examples and see what you think. The way you worked the surface of the weed print on the canvas was very effective–and the layering with wax and thread helps reinforce the textures in the image itself.

    I think your weaving is very well done–and I like the abstraction of using the contact sheets–worked out well. The trash lid was interesting to me as an abstraction itself- rather than something to attach the photos too–I think those images work best in a less literal presentation. I’m glad you liked John Dugdale’s work–I think you’re really responding not only to the aesthetic quality it has but the idea of homoerotic imagery being used in an antiquated process–I think it would be very interesting to see the sex worker portraits with the vases or other classical elements–in the Salt print process–using some very large digital negatives and making big prints–I think the best alternative works being done today are with modern conceptual imagery and handmade processes–it’s the contrast of the imagery with process that creates a dynamic fusion in the works. Keep at it–try to work on one idea at a time and see it through. I’m always around to give feedback!


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