Parsons School of Design
My work consists largely of photographic works of contextual appropriation, that is, a partial or full disassociation of the subject matter ‐ an object or surface ‐ from its original environment, to create a new perceived identity and/or illusionary effect, further created by the medium it is printed on.
The camera acts as a compositional tool, framing overlooked surface details as well as detritus materials in the street. The result is often a blurred boundary between perception and experience.
The full extraction of an object or surface can create a more escapist result, being read as a painting or print, taking on a life of its own. It is less about pinpointing an answer or thinking of what it resembles and more about finding a place to stand on that blurred boundary of perception and reality. . In a way I answer a question with a question. My work asks the viewer to look in a more meditative way. Seek and you shall find, even if the invitation is not written all over it.
Partial extraction directs the viewer’s focus specifically to the geometries, folds, textures, and subtleties, which are most apparent and vivid when some of the object or surface’s contrasting surroundings are still present within the composition. As in life, sometimes relativity shapes perspectives and views that would not exist without a comparison.
Everything I photograph would disappear or change from its current state if undocumented, some in a few hours, some over years. Often, what I photograph does, by default, reveal that vulnerability and the disposability in our world, particularly the paper I photograph, but in general the inevitable decay and transformation that occurs even in non-living matter. I capture and preserve that impermanence.
There’s a sense of peace in the subtle colors, the folds, and textures, and in focusing on the details of something that otherwise gets lost in the superfluous mental and physical clutter in the world around us. We can see its stillness and its movement, too. It also serves as a metaphor for a way of living in which we try to appreciate and see the best.
Exhibitions (Several Selected Works)
2017 Friday Studio Gallery, Brooklyn, NY
2016 Friday Studio Gallery, Brooklyn, NY
2015 Ridgewood Artists Coalition Bushwick Open Studios Show, Vander-Ende Onderdonk House, Maspeth, NY
2018 "Introductions 2018", curated by Enrico Gomez, Trestle Gallery, Brooklyn, NY
2018 - "The Greatest Show on Earth", Sideshow Gallery, Brooklyn, NY
2017 "Making Connections: Artists Working in Queens", Plaxall Gallery, Long Island City, NY
2016 West Chelsea Highline Open Studios Group Show, New York, NY
2016 "Made in Ridgewood", Outpost Artist Resources, Ridgewood, NY
2016 & 2015 Lorimoto Gallery, Ridgewood, NY
2015 Ridgewood Artists Coalition Bushwick Open Studios Show, Vander-Ende Onderdonk House, Maspeth, NY - Co-Curator
"Surfaces and Beyond: A Visit with Isabelle Schneider", Professional Women Photographers Blog: http://www.pwponline.org/blog/2016/...
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