(505) 228-3749 -- scasubmissions@gmail.com
524 Haines NW Albuquerque, NM 87102
Gallery Hours: Thursdays & Fridays 12-5p, and by appointment

Picture space

October 30 -

November 20, 2015





Image courtesy of Erin O'Keefe in collaboration with Andy Mattern

Picture space

Ellen Garvens
Megan Gould
Erin O'Keefe
Anna Krachey
Hayley Rheagan

curated by Andy mattern

Reception:October 30th from 5-8pm

show runs through 11/20



SCA will be moving to 401

2nd Street January 2016.



The translation of space into a picture - the flatting, cropping, and reconstituting of the world into a photographic representation - is the inspiration for this exhibition, which brings together the work of five artists who approach the nuances and mysteries of the picture space in contemporary photography. The complexities of representation and the fact that an image is both a record and an interpretation are ideas that recur in these artists' separate projects. The conversation among them offers a synaptic map that charts an area of significant concern in the medium today. Given the expansion of contemporary photography and its intersections with other areas such as new media, painting, and sculpture, how are artists making pictures now that both expand the medium's definition and at the same time continue to probe the depths of its core concerns? The artists in this exhibition do both with visual intelligence and formal acuity.

Ellen Garvens' large format color photographs initially read as subtle paintings, apparently neutral surfaces populated by inexplicable objects and bits of tread. Yet, these surfaces are imbued with personal history and meaning. Having moved her studio into the empty rooms of her home, which until recently were occupied by her adult children, she employes the incidental marks and other traces of habitation on the walls as rich backdrops for sculptural compositions made from everyday materials. She then photographs these arrangements as evidence of the parallel play between her and the absent family members. The result of this process are images that are both formally elegant and evince a sense of the corporeal and the embodiment of space.

Meggan Gould debuts a new work in this exhibition using leftover color inks from photographic printers to paint directly on the gallery wall. Operating beyond the traditional photographer’s rectangle, Gould’s project explodes the materiality of photography into painting and installation. With this project and others, her work has become an open-ended dissection of photographic vision and the technologies of sight at large. Automatically generated ink nozzle pattens, grease marks on iPad screens, chromogenic emulsions, glass and plastic viewfinders - these are some of the spaces in which she seeks surprising moments of aesthetic pleasure and serendipity.

Erin O'Keefe makes fictional sculptures expressly in order to photograph them. The photograph, rather than the object, is the final product. She make the objects, which are flat, from pieces of photographs that are in large part sourced from other sculptures. The constructions rely on the three-dimensionality depicted in these fragments to create the illusion of a sculptural object. O'Keefe is keenly interested in making straightforward studio photography that appears to have been manipulated - using analog means to reference digital effects, and playing with the awareness that our trust in photographic images has been so thoroughly undermined. The constructions are precarious, often on the verge of collapse, and the resulting images test our capacity to make coherent connections between seemingly disparate spaces and objects.

Anna Krachey's inventive photography explores the relationship between the beholder and the work of art, awakening and provoking the world’s unexpected aesthetic possibilities. Krachey draws inspiration from her domestic life, often compiling still-life setups and household vignettes made from commonplace objects. While each image she makes exudes intentionality and intense focus on the subject, the magic in this work occurs among and between the pictures. Rather than simply functioning as windows to another world, Krachey's compositions compress the field of view and the objects depicted until they feel like they are pressed right up against he glass. Space and objects alike take on new significance in these groupings of images, creating a synecdochic relationship from one picture to the next.

Hayley Rheagan presents a series of architectural photographs that manipulate and question the dimensionality of form. Her geometric shapes relate to each other as abstract building blocks that together propose new kinds of space. The result is both document and construction, familiar and surreal. Channeling the harmony of light and color, this work draws attention to the subtle complexity of perspective and how the camera inscribes a fragment of the world by slicing it out of reality.

-Andy Mattern


Please contact the gallery for more information.

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