The White Columns Curated Artist Registry is an online catalog of digital images documenting the work of artists who are not affiliated with a commercial gallery in New York City. Each submission is reviewed by our curatorial staff; in order to be considered for the registry, one must submit work digitally via this website.
Some years ago, I inherited many of my mother’s personal items. I began taking snapshots of them. During this time, I also photographed ordinary objects I would touch as part of my daily routine. The objects I selected are by turns personal, symbolic, and generic – representing the commonly used, and the outdated. As the project progressed, I began thinking about their varying degrees of technological obsolescence, and consequently their relationship to contemporary and archaic photographic practices. I took my digital camera into the darkroom. I exposed photo paper directly to its LCD screen, and printed a series of ghostly paper negatives. Then I scanned each negative and made 50 small digital prints, housed in a portfolio box. Lastly, I created a wall installation of large format Xeroxes. My “common objects” have been captured from life and translated through multiple cycles of digital and analog technologies. The resulting images often suggest something other than what they are, push the limits of legibility, or suggest surveillance, x-rays, or newspaper photographs - turning the familiar into the beautiful and the strange.
Using footage from the World Figure Skating Championships perfect/imperfect depicts a female figure skater attempting two difficult triple jumps during her long program. As the viewer flips through the pages on each side of the book, the outcome of each jumping pass is revealed.
Lyra Angelica uses a split screen format to juxtapose four performances of figure skater Michelle Kwan’s long program titled “Lyra Angelica” (U.S. National Championships, World Championships, Olympics, and Good Will Games). Although Kwan’s skating begins in synch, skating speed, small choreographic changes and mistakes generate a montage of performances that fall in and out of time with one another. The accompanying sound mix combines televised commentary taken from each of the four performances, creating a composite narrative that explores cultural definitions of beauty, perfection, success and failure.
Drives is a compilation of hundreds of 3-5 second shots edited from televised professional golf footage that capture the ball in mid-air. The movement of the perpetually falling/flying white ball against the blue sky is seemingly random, yet structured by a system (the order in which the drives were made).
The subject of practice is a golfer on the putting green. The golfer’s obvious skill keeps the viewer engaged (will he make or miss his shot?) This tension exists alongside the hypnotic rhythm of his repetitive actions, his solitary figure within the beauty of the landscape, and the touches of subjectivity that enter into the piece through his body language or utterances (sighs, “umms”). In this way, practice represents aspects of both mastery and vulnerability, and becomes a metaphor for the cycle of success and failure inherent in attempting anything difficult (sports, art). Viewing practice, like practicing itself, requires time, patience, and offers its own type of quiet reward (the antithesis of the highlight reel).
The 365 individual photographs that constitute "Calendar" softly fade into one another, collapsing 12 months of time into a 12-minute video. (See also Calendar Installation).