Vanessa Albury


Homepage

www.vanessaalbury.com, http://whitehotmagazine.com/articles/august-2011-vanessa-albury/2352

Kategorien: Fotografie

First, V-Tree from the series Other Portraits/ Performances

Other Portraits/ Performaces is a series of 16” x 20”, selenium-toned, black-and-white photographs that I created while considering ideas of portraiture, namely, the sense of familiarity the viewer feels despite the disconnect between the viewer of a portrait and the sitter. While reorienting the traditional elements of a portrait: a human sitter, a balck velvet and a natural setting, I explored aspects of an individual are not expressed in a face, but that are expressed through movement and a relationship to place.


Curving in Trees from the series Other Portraits/ Performances

Other Portraits/ Performaces is a series of 16” x 20”, selenium-toned, black-and-white photographs that I created while considering ideas of portraiture, namely, the sense of familiarity the viewer feels despite the disconnect between the viewer of a portrait and the sitter. While reorienting the traditional elements of a portrait: a human sitter, a balck velvet and a natural setting, I explored aspects of an individual are not expressed in a face, but that are expressed through movement and a relationship to place.


Three Trees from the series Other Portraits/ Performances

Other Portraits/ Performaces is a series of 16” x 20”, selenium-toned, black-and-white photographs that I created while considering ideas of portraiture, namely, the sense of familiarity the viewer feels despite the disconnect between the viewer of a portrait and the sitter. While reorienting the traditional elements of a portrait: a human sitter, a balck velvet and a natural setting, I explored aspects of an individual are not expressed in a face, but that are expressed through movement and a relationship to place.


Deirdre at Dusk from the series Other Portraits/ Performances

Other Portraits/ Performaces is a series of 16” x 20”, selenium-toned, black-and-white photographs that I created while considering ideas of portraiture, namely, the sense of familiarity the viewer feels despite the disconnect between the viewer of a portrait and the sitter. While reorienting the traditional elements of a portrait: a human sitter, a balck velvet and a natural setting, I explored aspects of an individual are not expressed in a face, but that are expressed through movement and a relationship to place.


Anna and the Wallpaper from the series Other Portraits/ Performances

Other Portraits/ Performaces is a series of 16” x 20”, selenium-toned, black-and-white photographs that I created while considering ideas of portraiture, namely, the sense of familiarity the viewer feels despite the disconnect between the viewer of a portrait and the sitter. While reorienting the traditional elements of a portrait: a human sitter, a balck velvet and a natural setting, I explored aspects of an individual are not expressed in a face, but that are expressed through movement and a relationship to place.


Anna, Mid-stairs from the series Other Portraits/ Performances

Other Portraits/ Performaces is a series of 16” x 20”, selenium-toned, black-and-white photographs that I created while considering ideas of portraiture, namely, the sense of familiarity the viewer feels despite the disconnect between the viewer of a portrait and the sitter. While reorienting the traditional elements of a portrait: a human sitter, a balck velvet and a natural setting, I explored aspects of an individual are not expressed in a face, but that are expressed through movement and a relationship to place.


Arcade from the series Other Portraits/ Performances

Other Portraits/ Performaces is a series of 16” x 20”, selenium-toned, black-and-white photographs that I created while considering ideas of portraiture, namely, the sense of familiarity the viewer feels despite the disconnect between the viewer of a portrait and the sitter. While reorienting the traditional elements of a portrait: a human sitter, a balck velvet and a natural setting, I explored aspects of an individual are not expressed in a face, but that are expressed through movement and a relationship to place.


Installation Shot from The Weather Project

Wall-mounted installation includes 102 unique sets of 2 Polaroid prints, a record of the weather and 3 Plexiglas vitrines. I took 2 Polaroids every day for 102 days of the air. I also recorded the weather forecast each day in Brooklyn, where I live, and in Nashville, where my father lives. The project was inspired by a letter I got from my dad in which he details the weather forecast in Nashville and shared weather patterns in Brooklyn and Nashville carried by the Jet Stream. I followed a rule each day I took the 2 Polaroids within seconds of each other in the same general direction of the air when the notion to photograph struck me. I was thinking about space and distance, physically and emotionally between people. I thought about the Jet Stream’s path and how different places affect each other despite great distances between them. The project is about the ways people show their love over long distances, language, and the space and actual air that we share. When I show the piece, I display 3 days at a time with the pair of Polaroids and the text of a day together in a Plexiglas box. I change out the images regularly over the course of exhibition. The final version of the work will be a book.


Detail Shot from The Weather Project

Wall-mounted installation includes 102 unique sets of 2 Polaroid prints, a record of the weather and 3 Plexiglas vitrines. I took 2 Polaroids every day for 102 days of the air. I also recorded the weather forecast each day in Brooklyn, where I live, and in Nashville, where my father lives. The project was inspired by a letter I got from my dad in which he details the weather forecast in Nashville and shared weather patterns in Brooklyn and Nashville carried by the Jet Stream. I followed a rule each day I took the 2 Polaroids within seconds of each other in the same general direction of the air when the notion to photograph struck me. I was thinking about space and distance, physically and emotionally between people. I thought about the Jet Stream’s path and how different places affect each other despite great distances between them. The project is about the ways people show their love over long distances, language, and the space and actual air that we share. When I show the piece, I display 3 days at a time with the pair of Polaroids and the text of a day together in a Plexiglas box. I change out the images regularly over the course of exhibition. The final version of the work will be a book.


Detail Shot of Polaroids from The Weather Project

Wall-mounted installation includes 102 unique sets of 2 Polaroid prints, a record of the weather and 3 Plexiglas vitrines. I took 2 Polaroids every day for 102 days of the air. I also recorded the weather forecast each day in Brooklyn, where I live, and in Nashville, where my father lives. The project was inspired by a letter I got from my dad in which he details the weather forecast in Nashville and shared weather patterns in Brooklyn and Nashville carried by the Jet Stream. I followed a rule each day I took the 2 Polaroids within seconds of each other in the same general direction of the air when the notion to photograph struck me. I was thinking about space and distance, physically and emotionally between people. I thought about the Jet Stream’s path and how different places affect each other despite great distances between them. The project is about the ways people show their love over long distances, language, and the space and actual air that we share. When I show the piece, I display 3 days at a time with the pair of Polaroids and the text of a day together in a Plexiglas box. I change out the images regularly over the course of exhibition. The final version of the work will be a book.