KLOMPCHING GALLERY is pleased to present an exhibition of photo-collage and assemblage, featuring eight dynamic artists, whose artworks collectively touch upon notions of identity.
With artworks made between 2005–2016, they represent contemporary practice in the staging of photographic narratives, incorporating a range of collage and assemblage techniques.
In the work of Marc Baruth, contemporary gures are decontextualized within ctional, digitally-constructed landscapes. A whimsical visual homage to the paintings of Peter Paul Rubens, Baruth’s topography is a wonderful and peculiar play on man’s relationship with nature.
Visual memories diffused through Ishihara Color Test dot-patterns is effectively applied by Odette England, to manipulate the intended meaning and function of family photographs. Here, the viewer is called upon to ll in the negative space, both physical and psychological.
With the work of Antony Crossfield, the viewer is presented with ambiguous, uid bodies, bringing attention to the notion that self-identity is unstable and permeable. His study of this concept, centering upon the male nude, is challenging and provocative. His exceptional digital assemblage further enhances the subject with off-kilter perspective and scale.
Cornelia Hediger’s Puppenhaus series are masterfully constructed handmade artworks, inspired by the photo-collages of notable German artists Hannah Höch, John Heart eld and Grete Stern. Evident in the artworks are pencil marks, irregular cuts left exposed, paint, hanging string, and individual elements attached in low relief, which together draw attention to the unusual focal planes, angles of view and shifts in scale. The use of self-portraiture prevails, linking this series back to Hediger’s previous bodies of works.
With the Blueprint series, Joana P. Cardozo examines the notion that our home is a re ection of our personality. Her photographs are unconventional portraits, that depict household items to reveal an individual’s personalty, and collaged together in a manner reminiscent of architectural blueprints.
Alma Haser transforms her subjects’ faces into disquieting geometric shapes, made up of lips, noses and eyes. Each portrait in the Cosmic Surgery series is expertly crafted, with a process that involves folding the face into a 3D origami sculpture, placing it onto the original portrait and re-photographing it to complete the portrait, and transform it back into a 2D form.
Peter B. Leighton’s photographs are not what they seem. These black and white photographs, are also constructed images, made from numerous vernacular images, carefully choreographed into new realities. While humorous, they’re also an intriguing comment on the history of the vernacular photograph.
The artist, Bill Durgin, is best known for his photographs of the nude, distorted by being posed into sculptural forms. With Figure Ground, he manipulates space, creating a seductive optical illusion in his photographs. He accomplishes this by staging and creating photographs that utilize the physical space of the artist’s studio.
Together, these artists demonstrate an exceptional melding of process and concept. In each case, their methodology of creative expression is wholly appropriate to their visual commentary. The exhibition of 15 color and black & white photographs remains on view through February 18th, 2017.
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