WEEKEND is pleased to present Hide the Evidence, an exhibition of photographic works by Los Angeles based artist Suzanne Adelman. In Hide the Evidence, Adelman explores the physiological experience of vision and perception through a series of images depicting mundane urban environments, 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.
By employing a motion blur to discrete sections of her photographs, Adelman draws attention to the process through which the brain analyzes visual information, wherein everything we perceive, however routine, is an approximation of raw data. In order to compensate for this overload of data, the brain "roughs in" large areas of the visual field, often providing us with an incomplete picture of visual experience that we nonetheless consider seamless.
Ultimately, Adelman's work succeeds in elucidating these qualities of the visual experience while drawing analogies to the constructed nature both of vision and the photograph. Adelman's blurred images reveal perception to be a nebulous and murky affair, mediated by transitory fragments of analog experience that are memory-based, illusive and ultimately ephemeral.
Suzanne Adelman is an artist and curator based in Los Angeles and received her MFA in art from CalArts. Her work has been included in various group and solo exhibitions in Los Angeles, New York, and Europe.
Hide The Evidence
Hide The Evidence is an inquiry into the faculties of human sight and how this relates to representational issues of the photograph.
While researching the mechanics 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 see in focus two percent of their visual field at any given moment. The rest is effectually hidden. The brain heavily processes visual information gathered by the optic neurons, filling in for all intensive purposes a seamless visual field. This information then translates into a quick shorthand form of selective perception based upon attention and judgments: what we know from prior or embedded experiences, physically navigating environments, and general survival instincts.
Vision as a mediated process corresponds to the argument that photographs are not direct representations but rather constructions. This is seems to be particularly the case with digital photography which processes data rather than records the direct imprint of light upon material.
In my photographic works, the blurring, abstraction, and narrow areas of focus are analogous to the mechanics of vision. The representational organization and manipulated areas of the photographs set up a dialogue between the hidden cognitive nature of vision and the subject matter that consists of various cultural and environmental scenarios and subtexts.
The function of the photographs in Hide The Evidence is to stimulate a new action of perception that is analogous to vision itself: to construct a representation of what has been hidden or invisible or incomplete.