Anderson Gallery

Jacquelyne Images

These are some images I have been working with right now. I have more and plan to take a lot more. My whole concept is based off of a narrative, but not one in particular. I want the audience to somehow be able to relate to what is going on in the photographs or somehow put themselves in that position. However, I am trying to make the images speak to the audience in some way, shape or form. I want there to be some sort of narration that gives off a voyeuristic emotion within the viewer. Right now, the images do not really separate themselves from a one moment. I am continuing to shoot more and more so the final prints give a sense of time lapse and not look like they were taken over a course of a few days. I started using only myself, but when I brought another figure into the photographs, the narration I wanted to achieve started to show. I still have some questions on presentation and how the feel of the overall images. I am thinking about printing them large and having some close together while others are more spread about the wall. I want them to have a loud feeling but not overpower the viewer. So my question is, how should I present them? Would they work big? And what about having some black and white? I posted the sky pictures because I wanted to incorporate photographs with the figures that represent them as individuals. the sky photographs were the first I took, but I plan on maybe doing some illustrations or taking more "detail" images that would work together and separately with the original images. Basically, I want the narration to have a progression that portrays the individuals. So any ideas or suggestions would be helpful...

Elinor Carucci

LOCATING INTIMACY: THE SPACE BETWEEN
This show explores the space(s) of desire, engaging viewers in contemplation of spectatorship, exhibitionism, and fantasy. The work included lies on a continuum from empty to occupied spaces, ranging from empty "fantasy rooms" to abandoned sites of sexual encounter, from recontextualized pornographic stills to dislocating corporeal projections. Revealed in the work is the topography of sexual desire and the explicit construction of intimate zones. Intimacy, itself, is revealed to be a diverse construction, sometimes unearthed by the camera, while at other times created by it. In every case, intimacy is represented as a spatialized relationship between two or more subjects, be they on or off, in front of or "behind" the camera.

After Todd Hido showed me Elinor Carucci's work, I fell in love with her and her images, especially her series "Closer." Hido is actually friends with Carucci and was explaining to me her work process and somewhat her thinking process. I completely admire Carucci and how she portrays such intimacy through her images. That is what I am striving and hopefully one day will successfully do. She reveals the bare layer of her being as well as the people around her. She does not try to hide anything or stage the events in which are happening, which is amazing to me. To capture such beautiful and revealing images in truly something to look up to. I feel like she is the first artist I can actually relate to after reading her artist statement about "Closer." She talks about how you can never mix up or interfere art with life and that the beauty of it all should be exposed. Although some may not believe this and are more reserved to the fact that modesty is admirable, I completely agree with her and now it is up to me to make others believe as well. Seeing someone in person and then that same subject behind the lens gives off a complete dimension to their existence and I feel like that is why I put myself in front of the camera. Not necessarily to be noticed or because it is convenient but because it is part of my existence to reveal what others may never reveal about themselves. I am lending myself to world of art that has always had reservations in exploring. I want to be successful in the ambiguity, intimacy, closeness and confusion in discovering the nuances I may not otherwise see.