Ventiko is a critically acclaimed photographic artist and community builder. Originally taught to use a Pentak K1000 by her father, she studied as an apprentice under Maestro Tony Clevenger in Indianapolis (who took the above portrait) prior to relocating to Brooklyn in 2008 to pursue her craft. Her work focuses on the (re)construction of moments not in time but in thought to expresses social positions on sexuality, persona, and the state of the modern woman. (More here)
Ventiko’s works have been prominently exhibited along side legendary artists (Peter Beard, Herb Ritts, Andy Warhol and most exciting Titian’s 1530 Saint Sebastian, to name a few). Her 2013 solo exhibition in Chelsea, New York City at Coohaus Gallery, titled VENTIKO: The Other World, received international press online (Arte Fuse, Hyperallergic, Interview Magazine and Quiet Lunch) and in print (including a 10 page article in Korea Monthly Photo). Her work has also been exhibited internationally Korean International Art Fair, Sluice (UK), BUSAN (Seoul) Fountain Fair (NY), Select Art Fair (NY), Photo L.A., Gallery Ho, (Chelsea, NY) and UNTLD BCN (Barcelona, SP). In recognition of her work she has been awarded Artsalnt’s Showcase First Place Award and participated in both the Wassaic Residency and Matt Robert Arts ALAS program in London. Her work hangs in several private collections as well as the permanent collections of The Kinsey Institute and Westfield London.
As a community builder she has worked with over 200+ artists creating, curating and facilitating happenings, exhibitions, lectures and residencies on their behalf through her creation Animamus Art Salon. Weekly she discusses life with many of these artists and more, on Animamus Audio Hour podcast available on iTunes.
Digital tools available to the modern photographer enable not only alteration of both the physical and aesthetic appearance, but also allow for the (re)construction of new narratives within the framework of the picture. Throughout my relationship with the photographic image, I’ve used these tools to develop a visual language rooted in a perversion of the devout, an expression and worship of the Enthusiastic Terror. This language has grown to adopt the meaning necessary to express social positions on issues such as sexuality, persona, and the state of the modern woman. It’s evolution has been guided by the aesthetic choices incorporated into the pre-construction of the photographs; the images are not those which are found by waiting for the perfect moment, instead they are the construction of a moment, not in time, but in thought. The construction of the image, an homage to the elaborate sets constructed by Renaissance painters before putting their brush to canvas, is a critical aspect, especially in process. Sets are elaborately designed from found objects around my neighborhood in Brooklyn, on the street and repurposed from local businesses. Models are close friends, lovers, collaborators, intimate figures dressed up in unfamiliar costume and put in alien situations in an attempt to subvert their identity. The style draws directly on classic Biblical imagery in combination with the obscene: a kind of moralist duality that echoes in the characterization of the figures as well. These references create a conceptually structured triangle: the incorporation of the historical into the present to influence the future. Juxtaposing the traditional with the contemporary, both via technique and style, my images work to uproot and expose binaries within the human condition, displaying them to the viewer in a deliberately confrontational gesture.