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WEEKEND is pleased to present Hide the Evidence\, an exhibition of photographic works by Los Angeles based artist Suzanne Adelman.   In H ide the Evidence\, Adelman explores the physiological experience of vi sion and perception through a series of images depicting mundane urban envi ronments\, interior spaces\, and landscapes that subtly expound on cultural and environmental scenarios and subtexts\, the nature of seeing\, and how this relates to the representational issues of the photograph.

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By employing a motion blur to discrete sections of her photogra phs\, Adelman draws attention to the process through which the brain analyz es visual information\, wherein everything we perceive\, however routine\, is an approximation of raw data. In order to compensate for this overload o f data\, the brain "roughs in" large areas of the visual field\, often prov iding us with an incomplete picture of visual experience that we nonetheles s consider seamless.

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Ultimately\, Adelman's work su cceeds in elucidating these qualities of the visual experience while drawin g analogies to the constructed nature both of vision and the photograph. Ad elman's blurred images reveal perception to be a nebulous and murky affair\ , mediated by transitory fragments of analog experience that are memory-bas ed\, illusive and ultimately ephemeral.

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Suzanne Adelman is an artist and curator based in Los Angeles and rece ived her MFA in art from CalArts. Her work has been included in various gro up and solo exhibitions in Los Angeles\, New York\, and Europe.

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Artist Statement:

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Hide The Evidence

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Hide The Evidence is an inquiry into the faculties o f human sight and how this relates to representational issues of the photog raph. 

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While researching the mechanic s of vision\, I became interested in the fact that it is the brain and not the eye’s retina that actually constructs vision. Humans can only se e in focus two percent of their visual field at any given moment. The rest is effectually hidden.  The brain heavily processes visual informati on gathered by the optic neurons\, filling in for all intensive purposes a seamless visual field.  This information then translates into a quick short hand form of selective perception based upon attention and judgments: what we know from prior or embedded experiences\, physically navigating environm ents\, and general survival instincts. 

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 Vision as a mediated process corresponds to the argument that photograp hs are not direct representations but rather constructions. This is seems t o be particularly the case with digital photography which processes data ra ther than records the direct imprint of light upon material.

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In my photographic works\, the blurring\, abstracti on\, and narrow areas of focus are analogous to the mechanics of vision. Th e representational organization and manipulated areas of the photographs se t up a dialogue between the hidden cognitive nature of vision and the subje ct matter that consists of various cultural and environmental scenarios and subtexts. 

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The function of the photo graphs in Hide The Evidence is to stimulate a new action of percepti on that is analogous to vision itself: to construct a representation of wha t has been hidden or invisible or incomplete.

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DTEND:20120226 DTSTAMP:20140711T183705 DTSTART:20120203 GEO:34.100412;-118.2905545 LOCATION:W E E K E N D\,4634 Hollywood Blvd. \nLos Angeles\, CA 90027 SEQUENCE:0 SUMMARY:Hide the Evidence\, Suzanne Adelman UID:198918 END:VEVENT BEGIN:VEVENT DTEND:20120203T220000 DTSTAMP:20140711T183705 DTSTART:20120203T190000 GEO:34.100412;-118.2905545 LOCATION:W E E K E N D\,4634 Hollywood Blvd. \nLos Angeles\, CA 90027 SEQUENCE:0 SUMMARY:Hide the Evidence\, Suzanne Adelman UID:198919 END:VEVENT END:VCALENDAR