Open by appointment:
February 15 – March 9, 2014
Opening Reception, Saturday February 15, 6-9 PM
In looking at the photographic image, we look through the object. Conversely, in order to examine the surface, we must dismiss the image.
One act of looking almost always overpowers the other, and the decision (or burden) rests upon the viewer to enact whichever mode of looking they prefer. The works in CAPTURE EFFECT¹ attempt to buck this dichotomy by bringing the two elements together; the surface and the image become equally critical and must be seen in unison.
Utilizing found imagery, Samoylova and Weber employ very physical tactics to manipulate found photographs into new compositions. The photographs are bent and torn, aggressively reconciling the past with the present. Re-presented in their final forms, the pieces still speak the same language but the distance between the original and its transformation allows for a dialog about stability, vision, and memory to emerge.
Weber’s Undisclosed Typologies embrace the physicality of the photograph through a very deliberate removal of photographic emulsion. Presented in a large grid, the final images call attention to the tactile qualities of the photographic material.
Samoylova’s Landscape Sublime studio constructions manipulate stock photographic imagery into complex still lives. Angular plastics, mirrors, and lights distort the generic landscapes into a myriad of shapes, breaking down illusion through the doubling of it.
Anastasia Samoylova is a Russian-born artist and educator that lives in the Chicago area. She received her MFA in Interdisciplinary Studio Arts from Bradley University.
Julie Weber lives and works in Chicago, IL. She is currently pursuing an MFA in Photography from Columbia College Chicago.
¹In telecommunications, the capture effect, or FM capture effect, is a phenomenon associated with FM reception in which only the stronger of two signals at, or near, the same frequency will be demodulated. When both signals are nearly equal in strength, or are fading independently, the receiver may switch from one to the other and exhibit picket fencing.