Bigindicator

Krista Levy

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20100907020451-022708_0164_v4_as_showcase
Rural Decrepitude Series #1: Antique Thresher, 2008 Photography, Digital 20 X 20 Inches © Krista Levy
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Weathered Film Festival Poster in Palermo, 2007 Photography, Digital 25 X 25 Inches © Krista Levy
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Places in the Sun Series #2, 2008 Photography, Digital 20 X 20 X 0 Inches © Krista Levy
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Places in The Sun Series #3, 2008 Photography, Digital 30 X 48 Inches © Krista Levy
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Places in the Sun Series #1, 2008 Photography, Digital 36"X18" © Krista Levy
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Contempo Youth (w/ Jon Williams), 2010, Photography, Digital, 20"X27" © Krista Levy
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Cold Oak, 2007 Photography, Digital 24 X 17 Inches © Krista Levy
20101013141518-080707_tunis_08173_v8_36x48_as_salesroom
Human Nature Series #1: Dream in Tunis, 2007 Digital Photography 36"X48" @300dpi © Krista Levy
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Human Nature Series: Once Upon a Time, 2010 Photography, Digital 24"X36" @300dpi © Krista Levy
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(Self Portrait) Tree Frog Through My (Dirty) Window , 2010 Photography, Digital 25"X25" @300dpi © Krista Levy
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Tracking Series: Hawk Wingtip In Fresh Snow, 2006 Photography, Digital 30 X 40 Inches © Krista Levy
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Rustic Series: Dusk at Mission Creek, 2007 Photography, Digital 36 X 36 Inches © Krista Levy
20101001151517-022307_2840_v2_36x36_as_salesroom
Rustic Series: In a Snow Cloud, 2007 Photography, Digital 30 X 30 X 0 Inches © Krista Levy
20101001161629-040207_mc1_06121_v10_48x48_as_salesroom
Geometry Under a Windmill, 2007 Photography, Digital 48 X 48 Inches © Krista Levy
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Side Window - Looking Up, 2007 Photography, Digital 37 X 28 Inches © Krista Levy
20101025022919-020607_basin_01695_v5_40x40_as_salesroom
Sluice Gate, 2007 Photography, Digital 39"X39" @300dpi © Krista Levy
20101017144746-100610_02735_v6_27x36_sepia_as_salesroom
Antediluvian Keyboard, 2010 Photography, Digital 36 X 27 Inches © Krista Levy
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Old Sign, Nostalgia, 2008 Photography, Digital 28 X 18.5 Inches © Krista Levy
20101025035754-040407_dsc6363_v14_16x22_sepia_as_salesroom
Human Nature Series: Progress, 2007 Photography, Digital 16 1/2 X 22" @300dpi © Krista Levy
20101026170749-051510_1940_v6_34x34_as_salesroom
Unnatural Abstracts: Ordinary Plastic Crate Against a Fence, 2010 Limited Edition Archival Print. Ed. of 30 (photography) 34 X 34 Inches © Krista Levy
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Unnatural Abstracts: Orbital Reflections, 2007 Limited Edition Archival Print. Ed. of 30 (photography) 15 X 20 Inches © Krista Levy
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La Romana Street Series #1A, March, 2013 Digital Photography/digital Art 15X15 @ 300dpi © Krista Levy
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La Romana Street Series #1B , March, 2013 Digital Photography/digital Art 15X15 @ 300dpi © Krista Levy
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La Romana Street Series #1B , March, 2013 Digital Photography/digital Art 15X15 @ 300dpi © Krista Levy
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Quick Facts
Birthplace
New York
Birth year
March 11, 1970
Lives in
Tehachapi, CA
Tags
landscape, modern, photography, digital, graffiti/street-art, conceptual
Statement

kristalevy@gmail.com | 661.972-3572

Artist Statement:

For me, art is a tool of empowerment- it is one of the few aspects of modern life in which the only constraints are those imposed upon the self, in which there are no rules. I gravitate primarily to digital photography because through this medium the world becomes infinitely malleable; it allows me to re-make reality as I see fit, to perfect, to depict a mood, to draw vitality, delicacy, depth or allure out of the mundane. I love the digital medium because of the infinite possibilities it affords the artist.

Specifically, digital manipulation allows me to reduce the original image down to its most fundamental constituents. I often work on a single pixel level, painstakingly reworking the geometry of lines and angles, moving elements to balance compositions and removing a great deal of extraneous detail which would otherwise distract from the clarity and substance of a piece. The process of revision can take weeks; a final image is often comprised of hundreds of layers, most of which, beyond sweeping changes in light and contrast, are dedicated toward perfecting the subtleties and minutiae necessary to give the final work cohesive definitude. I never stop working until I am satisfied with the outcome. In the end, on the occasions when I am successful, the original image is seamlessly distilled down to the essence of that which I seek to convey.

In terms of content, I am inherently drawn to images which communicate natural harmony, linear flow, precision and contrast. I am fascinated by the inevitable change and deterioration of corporeal things- from ancient and modern artifacts to biological systems. As I grow and gain confidence as an artist, I find that my work is evolving toward bolder colors and subject matter. I enjoy symbolism and metaphors, which I sometimes express through my titular choices.

Until now, my work has primarily been for myself. Five years ago a debilitating neurological disorder forced me to give up my career in high-end digital media. I was utterly unprepared for this life change and did not handle it well.  When I began taking photographs in 2007, I discovered that the act of creation afforded me a sense of control over my world, a feeling of accomplishment and a means of focusing on something other than fatigue or physical pain. I have, with a few exceptions, kept my work as something private- for myself, family and friends, but I think the time has come to share it with others on a larger scale.

It may be considered practical for an artist to choose a cohesive aesthetic for one's portfolio. However, I have as many varied conceptions of beauty as there are facets of my psyche- therefore, there are manifold, diverse impressions that I seek to impart through my art. My frame of mind and physical surroundings play an influential part in each piece- hence the existence of what may be perceived as vagaries in my portfolio. In fact, after much consideration, I have intentionally chosen for review here several representative samples of many different general themes and styles that are repeated throughout my overall body of work.

On a final note, digital art- whether design, photography, or multimedia, has not yet achieved full acceptance as legitimate fine art form in all quarters of the traditional art establishment. This, I believe, is a natural reaction, particularly on the part of classical photographers. Change, in any form, always takes time and patience.  I do not see a conflict between digital photography and traditional photography because the processes, techniques, equipment and goals of these two methods of artistic creation are so vastly dissimilar. Each medium has its discrete challenges and advantages. So I shall end this statement as I began, with the assertion that art, finally, is without constraints or rules. I am grateful to galleries such as the Agora Gallery in New York and forums such as ArtSlant for helping to support digital work as a respected and legitimate art form, and I am impatiently eager to watch as the medium evolves, both practically and in terms of public perception, over the years to come.