Cara Philips – Untitled #40 – from the series “Ultraviolet Beauties”
Two “new” bodies of work by two women photographers I greatly admire share an interesting coincidence revealing that which you can not see alone with the naked eye – but is none-the-less right before us.
Angela Strassheim’s work from the Evidence Series – reveals (potentially) hidden violence of past events through a forensic technique where by blood stains are made visible under special chemical spray. See the exhibition shots / photos here at the Marvelli Gallery.
Cara Phillips’ work from the Ultraviolet Series reveals (potentially) hidden damage beneath the skin as revealed through UV light photography of human skin.
Both sets of images are quite nice. Of course I’ve admired Strassheim’s work before when I’ve seen it at the Faulconer Gallery, Grinnell, Iowa. Strassheim’s Evidence Series is scary beautiful and a bit creepy but also for me touches upon how we tend to have to “cover it up” and forget the past sometimes in order to move on – haunting and mysterious.
Philips work is also scary beautiful (but not creepy) touching upon themes of beauty (or perhaps just what is considered beautiful these days) in human form and surface. What will those “blotches” become in the future? Both record a series of invisible scars under the surface so to speak – yet one clearly points to things in the past while the other points to things in the “here and now” or even – one might imagine – a horribly scary future….
Wouldn’t it be great to see these (and other “invisible” work like this) together ?
UPDATE: – sidenote… a funny coincident tangential post about “retouching before the day’s of photoshop” over here on Conscientious “…the photographic lens is an instrument of great precision, but it does not discriminate between the essential and the unessential…” source – page 6.
Finally, getting to post some notes from my recent visit to the Faulconer Gallery over in Grinnell! I visited the gallery firstly to see the exhibition “Left Behind” by Angela Strassheim (hurry because the show ends December 10, 2006). Of “Left Behind” I was immediately aware of tremendous photographic effort – theatrical -and very meticulous work by Strassheim. The prints were big and colorful and well presented – grouped in small “rooms” of around 4 photographs – each photo was so full of energy – it was almost tiring.
Untitled (Fish Tank), 2003
C-print40 x 50 inches
Fish tank, while not the meatiest of the photographs, was one that sticks in my mind as a kind of “summary photo” of the whole show and effort – I liked the visual the analogy of the domestic interior and its depiction like being in a fish tank. The inversions are so powerful. The perfection of the home – interior – domestic bliss – clean, no dings in the wood trim – perfectly vacuumed carpets – all allude to no trace of personal existence -no dirt, nothing to hide -but almost too perfect to be real. And the fish tank – just as bare with seemingly bored occupants swimming aimlessly with in the container of glass walls -however, their particular dirt is out there in the open for all to see – no hiding the dirty algae in the closet so to speak. I especially liked the hint of a painting in the distant hallway – alluding to a kind of “fish heaven” if you will – the great wide and free blue oceans… just out of sight of the fish occupants. Real or imagined – each image of this show “Left Behind” was completely loaded with this sort of depth. Well worth the visit.
With this show, I was pleasantly surprised by the also showing (separately) “Portraits from Asia” by Marco van Duyvendijk – A very large showing of a number of different portraits… some of which are sure to be found in Mongolia: Photo Book. Another grouping from the series shown from the Betel Nut Beauties was interesting – from a cultural perspective.
Marco van Duyvendijk
Betel Nut Beauties en ander Aziatisch werk, 2006
C-Print – Galerie Cokkie Snoei, Rotterdam
The van Duyvendijk exhibition was of an entirely different genera – not overly produced – the photographs are simply portraits. Very accessible – even to the way they are presented on aluminum panels unframed and just on the wall. What struck me was the differences between the “staged” and polished presentation of work by Strassheim and the found work of van Duyvendijk – more on this soon as it relates to the photograph as a “product” for consumption.
Most importantly, seeing these two bodies of work got me to consider thinking about how one might view his or her own culture differently as an insider VS an outsider just visiting. Strassheim’s seemingly personal history – located in presumably familiar family settings VS. an outsiders view such as a northern European’s view of a Mongolian culture might produce completely different kinds of results from the experiences. I suspect there has to be different sensitivities which must influence the final work – different filters so to speak – but maybe an outsider – if tuned carefully can see the things closest to us with greater clarity – hard to say.
October 6 – December 10, 2006
Works by Iowa-born photographer Angela Strassheim.
“Angela Strassheim’s first museum exhibition is also the first exhibition of any kind to include her Left Behind series in its entirety. The catalogue, which reproduces all twenty-seven color photographs, includes an essay by Jean Dykstra.”
Bucksbaum Center for Arts – Grinnell College