Amy Finkelstein
“Things Rising and Falling”
Size: 35 x 30 inches
Medium: 8x10 color film photograph of collage using ink, tape, dust, theatrical lighting gel and backlight.
2016
$950
why these were made and why the artist would like to part with them...
“Part of a larger series of abstract photographs taken of a collage made in my studio using ink, tape, dust, theatrical lighting gel and backlight. I photographed the finished collage in backlight with my 8x10 film camera and printed the photograph in a traditional color darkroom.
I have moved on from this series, though it marks a formative shift in my work so I would love for it to find a good home.”
About the Artist:
From the time I got my first camera at 16, photography has never been about recording the world as it appears. My intuition is to use photography to construct a sense of things that are unseen. My work involves studio-based processes with a variety of materials to construct straight analog photographs. What starts as one thing in my studio ends up as something else entirely in the space between the work and the viewer. My intent is to emphasize this space of interaction with a photograph. Despite photography’s known illusions and manipulations, there is this tether that connects it to our sense of the world. Photographs are increasingly linked to our lived experience in a way that other mediums are not. Though my work is varied in its physical forms and concepts, the idea of this photographic tether, and its elasticity, remains constant.
From the time I got my first camera at 16, photography has never been about recording the world as it appears. My intuition is to use photography to construct a sense of things that are unseen. My work involves studio-based processes with a variety of materials to construct straight analog photographs. What starts as one thing in my studio ends up as something else entirely in the space between the work and the viewer. My intent is to emphasize this space of interaction with a photograph. Despite photography’s known illusions and manipulations, there is this tether that connects it to our sense of the world. Photographs are increasingly linked to our lived experience in a way that other mediums are not. Though my work is varied in its physical forms and concepts, the idea of this photographic tether, and its elasticity, remains constant.