OCAD University Photography Program

News about events, our community & opportunites

Tag: Friday Art Crush (page 1 of 3)

Friday #ArtCrush: Cassandra Keenan

Friday #ArtCrush is a weekly blog series highlighting students in their final year at OCAD University. This Friday’s #ArtCrush is Cassandra Keenan, a fourth year photography student in thesis. 

In this series, Cassie and Morgan talk about working with family relationships, documenting physical objects and exploring the truths/untruths of family histories.

Who or what are your main inspirations?

My main inspirations are honestly the people around me, I love talking to my fellow classmates and professors about everything, it helps me stay connected to not only the people I surround myself with, but also my art. The inspiration for my art also comes very naturally to me, and I find during moments of connection with others is when I come up with some of my best work, and most of the time it is during the most random moments, that’s what I love about art and inspiration, there is no time line.

What subject matter do you tend to spend the most time working on?

I mostly work with very personal subject matters, pretty much anything that is effecting me at the moment, or what I feel strongly about. Nothing is truly off topic for me as an artist, so far I have worked on many projects with a subject matter which relates to myself personally, this includes my mental issues, such as my severe panic attacks and anxiety, continuing all the way to helping me mourn the death of my grandparents.

I try not to limit myself or my art, especially that of my photography. This is because my art has always been an emotional outlet, and I have always felt like it is the only way I could truly communicate what I’m feeling or going through at that moment, my art is my form of stress relief.  Of course it is bound to change in the future, but that’s the fun of being an artist, you are never truly tied down

cassandra-keenan-_b-b-y-a_-digital-inkjet-print-2018

Cassandra Keenan, B.B.Y.A, Digital Inkjet Print, 2018

What body of work are you working on right now?

At the moment, I am mainly focused on finishing my Thesis and Grad Ex work called “Film”, it revolves around nine 8mm film reels which were all recorded by my grandfather, starting in the early 60s. The film captured moments of my grandparents young adult life, to their wedding and honeymoon, all the way until my mother and uncle were young children.

During my initial research at the beginning of the year I was mainly focusing on the documentation of my family history, especially that of my mothers side, but as I interview my family and looked at the many documents, I quickly came to realize that alot of the stories that I was told growing up was not told accurately, mostly because I was too young to know the truth.

My thesis then took a major turn, and instead of searching for the truth pertaining to the documentation of my family’s history, I wanted to look at the untold truths and document those moments. This is when I found the films again and got them digitalized, this was the first time in about twenty years that I saw them again, and they quickly became the main focus of my thesis.  I began to solely look at the nine films as the manifestation of all the untold truths that were told over my life time through the use of the editing that was done to each of them, I wanted to explore and identify each edit and untold truth within each of the individual films, which now stood in place for my family’s documented history and from there the series “Film” was formed, the series contains four parts, “Life”, “The Truth & The Edit”, “Glitch” and “Proof”, all of these names resembling different aspects related to film and archiving.

What draws you to the act of documenting these film rolls involved in your body of work, and how do you believe this adds to the significance of your work?

The Truth & The Edit” is the part of the series “Film” where I document the film reels. The work consists of fourteen photographs, each documenting the physical elements of the untold truths and manipulations that had been woven into my family’s history, these became very significant to my work, because they resemble the physical manifestation of my concept.

The first eight photographs are documenting the four film containers and their respective reels, the photographs depicting the four containers, “B.B.Y.A”, “Shower”, “Honeymoon”, and “Unknown #1”, each resemble the truth which are contained within them, and the labels on the front reflect on the moments captured within, they are the ‘real’ and the ‘truth’.  The next four photographs document the four reels that were once contained in the pervious containers, “B.B.Y.A Reel”, “Shower Reel”, “Honeymoon Reel”, and “Unknown Reel #1”. These four photographs represent the manipulation and the untold truths that were being told within my family’s history, and the editing that had been done to each reel can be clearly seen within some of the photographs, these edit points show that someone had physically edited and removed a piece of information from the recorded history.

The last six photographs document the small six film reels, “Made in Canada”, “Shar”, “1 Florida”, “2 Florida”, “Unknown Reel #2” and “QUE”. These six photographs also depict the untold truths and lies within my family history, some of the reels can be seen missing large sections of the film, which obviously mean they have been heavily edited, while others have lost their labels, leaving the contents of the physical reel unknown to the holder.

I was drawn to documenting the film reels and their containers, because as my thesis moved forward I could no longer see them as the absolute truth of my family’s recorded history, I began to only see them as their edits and nothing else, and it came to a point where I felt I had to document them as their own absolute truth, that being documenting the real and the edit. 

cassandra-keenan-_b-b-y-a-reel_-digital-inkjet-print-2018

Cassandra Keenan, B.B.Y.A Reel, Digital Inkjet Print, 2018

As your thesis explores familial relationships, how do you navigate working with a topic that is so personal? How has your relationship with your work evolved over the course of the year?

I actually found it really easy to navigate such a personal topic this time around, I was lucky enough to have a support system behind me to not only support the path I decided to go on, but also aid me when it had gotten difficult. But the idea of my thesis actually originated from a series that I worked on the pervious year, this series also focused on family history, but that time it focused on my fathers parents, who had passed a couple years ago. That series, “Waves of Memory”, was very hard on me emotionally, it fully drained me because even after a couple years I was still mourning the lost of my grandparents, and the series had opened old wounds, and as time went on it helped me navigate these emotions, and lead me to where I am now, where I can be more focused and understanding of the information laid out in front of me.

You often talk about family history in the context of the ‘truths’ and histories that are passed on generationally, but including the lies and untold truths that these stories hold. How have you decided to play with these ideas in your work to extend or mould the truth/untruths with you approach and contextualize your work?

I came to use the edits and untold truths to tell my family’s history because of the fact throughout my life these truths where only told to please a child’s ears and wonder, but now as an adult I seek to understand the truth of my own history.

With finding the film reels again, I began to question the documentation of my history, especially when my grandfather watched them, and mentioned how heavily edited they were, when I questioned him, he said that every film had to be reviewed by his parents (my great grandparents), and anything they didn’t agree with, must be removed and destroyed without question, so with alot of the reels you can see that they are missing large portions of their film. This made me very curious about the edits and made me want to explore them even more.

Is there anyone who you would like to work with in the future?

I don’t know if there is anyone I would like to work with in the future specifically. I am always open to working with anyone, especially those who I connect really well with, and can have a great back and forth creative conversation with, I do always work my ideas out with people who are around me, but I haven’t actually collaborated with anyone yet. I’m hoping in the future to open that door and work on some amazing work, just haven’t found that person yet.

15-billanddadonalawnmower-copy

Cassandra Keenan, #15, Digital Inkjet Print, 2017

How do you feel the thesis critique process has helped you with your critical thinking skills within your art practice?

The thesis critique process has definitely helped grow my critical thinking skills when it comes to my own work, even when we are critiquing another persons work I am still able to grow as an individual artist.

I am surrounded by so many wonderful artists, with their own amazing histories and point of views, It’s never just one point of view looking at my work. Having those many differences giving their opinions is very valuable to me as an artists, it helps me grow and look outside of my comfort bubble, and I owe it to them for helping me grow.

Even the bad or harsh critiques I take to heart, I know its not against me personally, my fellow classmates want me to grow and do better, I take every critique as an opportunity to grow. 

Are there any specific OCADU Faculty who have influenced your work? A specific discipline or course?

Simon Glass and Nicholas Pye are two OCADU Faculty which come to mind right away, I had the privilege of having both of them as professors for my main photography courses. I honestly believe I wouldn’t be as strong as an artists as I am right now if it wasn’t for both of them. They both pushed me, well beyond what I thought was possible of my own art, I say this in the best way possible, they both saw that I could grow and create more meaningful art, and the art that I created for them, were the first time I was truly making art for myself.

What is one piece of advice you would give to someone starting out in photography?

The one piece of advice I would give to someone starting out in photography is don’t be afraid, don’t be afraid to be yourself, to experiment, to try something new or scary, and don’t be afraid to grow. It is when you are afraid that you truly stop growing.

Friday #ArtCrush is a weekly blog series highlighting students in their final year at OCAD University.

Interview by Morgan Sears-Williams

About the writer: Morgan is a photo alumni and runs the Friday #ArtCrush series on the OCAD U Photography Blog. She loves speaking to other artists about social justice, how to break barriers within artist communities and nurturing the arts in alternative non-institutional spaces. She is the Art Co-ordinator for The RUDE Collective, and has done workshops on intersectionality and allyship relating to LGBTQ folks. To see more, you can visit her website or her instagram.

Friday #ArtCrush: Abigail Holt

Friday #ArtCrush is a weekly blog series highlighting students in their final year at OCAD University. This Friday’s #ArtCrush is Abigail, a photography student in thesis. 

In this series, Abigail and Morgan talk about using symbolism and allegories in photography, examining your cultural identities and using text and images simultaneously.

Who or what are your main photographic inspirations?

A lot of my photographic inspirations aren’t even photographic, but artists I’m inspired by right now are María Magdalena Campos-Pons, Adriana Varejão, and Anna Bella Geiger. But I mostly get inspiration from reading—translating ideas, theory, literature, poetry, into a visual language and expressing it in my own way. The process of image making is almost like writing for me (and writing like image-making). I like reading Caribbean authors / theorists and Spanish poetry. Also a sense of sensuality, like that found in the natural world or in music.

What subject matter do you tend to spend the most time working on?

Immigration, family, language, sensuality, girlhood, fruits, spirituality, soccer, history (memory), the Caribbean, land, maps, creolization, colonialism.

It’s common that you use text and images together. What is your process of deciding how to incorporate text into/ on to your images?


Usually the text and images follow a common theme, or maybe a common feeling towards subtly communicating an idea. So one example is that I made a book that was like pieces of a movie, with images, captions, and “poems” written in script format. I guess the way I mix text and image together has to do with affect, I kind of work more intuitively.

ig-abigail-holt-grass-stains-digital-inkjet-print-2016

What body of work are you working on right now?

I’m working on my thesis right now and a few side projects have been born from that. I’ve been playing with abstracting video stills of Carnival focusing on notions of double performance, masking, rhythm and Caribbean codes inspired by Antonio Benítez-Rojo’s theories in The Repeating Island and music (calypso, cumbia, samba, mapale, lavways), it’s fun sometimes I dance when I make them.

You use a lot of symbolism and metaphors in your work, for instance the works with fruits cut open, or flower petals creased or held together. What is this process of using symbols that have a meaning to you culturally or personally and how does that translate to audiences?


I use symbols, allegories, and metaphors because I like implying rather than telling, creating a feeling to express meaning. I guess it’s in the way of seeing or looking that you’re able to create these indicators or signifiers. Cultural symbolism can sometimes go unseen, it can be frustrating but especially in my thesis I’ve learned to embrace and play with that to express certain ideas, like about what is seen and unseen, what is considered center and what is considered periphery—and why.

In your thesis work, your images have a dream like quality to them. As if we are looking in on your internal thoughts and trying to decode the symbols of aesthetics or collages. Can you speak to this process of manipulation in your images?

‘Dreamlike’ is interesting because there’s a tradition of magic-realism and fabulism in the Caribbean. I’ve tried to create allegory-landscapes that act as embodiments of Internality masquerading as Externality but instead of being about me, it’s about Caribbeanness. The processes of visual manipulation are inspired by the cultural manipulation found in creolization, such as: plurality, fluidity, openness, secrecy, ambiguity, multiplicity, multivocality, multi-layering, transition, transformation, mimicry, doubling, carnivalization, diffraction, recomposition—it’s a long list. Basically it started with wandering through Trinidad, experimenting with a piece of glass / prism in front of my lens.

ig-abigail-holt-santiago-digital-inkjet-print-2018

While you use a lot of text in your work, there are also multiple projects that use old images and reconsider them in another light by collaging, composition or adding/subtracting from the image itself. How does this reconsider the original quality and purpose of the images?
The old images I use are of my family, so the compositions I make from them I call altars (or I add gold and call them saints). I always mention the images of my family as feeling filled with light or “breathing light like votive candles”. So when I make these new compositions I guess it’s about revealing something I see within the images, and of course the objects I use in the collages also add meaning (so like in one series alongside images of my family I used fruits / herbs from West Indian grocery stores that have healing properties).

How do you think your practice has grown over the course of your time at OCADU?
It’s kind of just grown naturally with me but also has become more informed as I’ve learned more in studio and lecture classes. I’ve gotten better and expressing and articulating my ideas visually. I’ve developed my own style because of those things.

Is there anyone who you would like to work with in the future?

Yeah! I would like to work with other emerging artists or people who have ideas of doing things differently. Of course it would also be nice to work with other Caribbean artists.

ig-abigail-holt-papaya-scanned-composition-2017

Are there any specific OCAD U Faculty who have influenced your work? A specific discipline or course?

Dot Tuer is so intelligent, she teaches art and history very critically and insightfully, things she’s said in lecture have stayed with me, she has so much knowledge and wild stories. Simon Glass and Nick Pye have always been encouraging and challenging, they always have lots of insightful ideas and feedback. The photo techs at the cage are great too, they’re so smart and friendly!!

What is one piece of advice you would give to someone starting out in photography?
For me when I was starting to pursue my interest in photography (pre-university) people made it seem really stale and clinical (like the inside of a Henry’s), as if there are certain guidelines and rules that you need to follow—or equipment you need to buy if you want to take a “good” photograph. That doesn’t really encourage creativity, or like, basic enjoyment—it represses it. So I think you should find your influences and interests, follow anything you’re curious about, question conventions, experiment, be open, play around, do your own research, take note of the things that leave impressions on you and think about why. Develop your own “language”, musicality, poetics, and way of seeing.

You can see Abigail’s work on their instagram, and at OCADU’s GradEx from May 3-6, 2018!

Friday #ArtCrush is a weekly blog series highlighting students in their final year at OCAD University.

Interview by Morgan Sears-Williams

About the writer: Morgan is a photo alumni and runs the Friday #ArtCrush series on the OCAD U Photography Blog. She loves speaking to other artists about social justice, how to break barriers within artist communities and nurturing the arts in alternative non-institutional spaces. She is the Art Co-ordinator for The RUDE Collective, and has done workshops on intersectionality and allyship relating to LGBTQ folks. To see more, you can visit her website or her instagram.

Friday #ArtCrush: Rebecca Rose Vaughan

Friday #ArtCrush is a weekly blog series highlighting students in their final year at OCAD University. This Friday’s #ArtCrush is Rebecca Rose Vaughan, a fifth year photography student in thesis. 

In this series, Rebecca and Morgan talk about photography and the gaze and working within a feminist lens.

 

Who or what are your main inspirations?

My main inspiration is just nature, our connection to nature or lack thereof and how that affects the way that we view everything around us.

 

What subject matter do you tend to spend the most time working on?

I tend to spend the most time working on subject matter surrounding the body and how it is represented in the media and our everyday lives. I feel the body is always a very political subject. It offers an ever-changing subject matter which can easily reflect the social and political themes prominent at the time. More specifically I usually create work about bodies that have been consistently marginalized throughout history and popular culture, these can include queer bodies, POC, women or female identifying, and trans persons as well as anyone who also feels that we need to redefine how we judge, view, protect and love our bodies.

 

rebecca-vaughan-bodies-are-space-_tara_-digital-inkjet-print-2018

Rebecca Rose Vaughan, Bodies are Space: Tara, digital inkjet print, 2018

 

You work a lot with portraiture, what do you think makes an effective portrait?

Ultimately, I think the best part of a good portrait is simplicity. There’s nothing wrong with a really carefully crafted and intricate portrait but I often find what I’m looking for through lots of natural light and a good lens. For me effectiveness in a portrait means the viewer can see something special about that person through their portrait.

 

How do you establish a trusting relationship with the people you photograph so they feel open enough to be vulnerable with you?

This is so important to me especially with my thesis work where all my subjects are nude, it is incredibly vital to my work that I am on the same page with my model before any photographs are taken, and they have had the opportunity to ask me any questions about the work, myself or the process. I have done a lot of self-portraiture which I often lead with when talking to someone I’m going to photograph. This starts us off in a place where they can be assured I understand how unnerving it can be to have the camera pointed at you and that I’m sensitive to the experience. I make sure my subject understands exactly what my goal is with the shoot and is consenting to it before we start. I also find that my confidence in giving direction during a shoot shows the person in front of the camera that I’ve got their back, its not on them to be perfect (what does that mean anyways) but just to be themselves. Once I get some good shots I always pause and show them some of the images especially and really good one, everyone is significantly more comfortable after they see a beautiful photograph of themselves.

 

 

rebecca-vaughan-bodies-are-space-_plexi-detail-one_-digital-inkjet-print-2018

Rebecca Rose Vaughan, Bodies are Space, Plexi detail one (Installation shot), 2018

 

What body of work are you working on right now?

Currently I am working on my thesis work which will be an image and sculpture-based installation. I have been experimenting with sculptures made from acrylic materials like plexi-glass and portraits of nude bodies. This current work sits on this line between documentary and sculpture/installation and aims to influence viewers to rethink how bodies are valued in 2-dimensional vs 3-dimensional forms and concurrently how they are allowed to take up space or not.

 

Your work challenges the male gaze. With substantial discourse around the female/women’s gaze in photography, what do you believe is the women’s gaze in photography? How does it subvert or challenge traditional ideas of the (male) gaze?

Traditional ideas within the male gaze encourage assumptions, judgements and opinions which from my point of view feed into very specific power dynamics that are based in an intrinsically patriarchal society. To challenge or subvert this gaze there firstly needs to be an awareness and acknowledgement of it. I think the female gaze is essentially the acknowledgement of these deeply imbedded habits and beliefs and it does not need to be anything else. Other perspectives on the female gaze will place it in opposition to the male gaze but I do not feel this is necessary, the female gaze should simply be a step in the right direction to accepting all kinds of people, bodies, and practices.
rebecca-vaughan-bodies-are-space-digital-inkjet-print-_plexi-detail_-2018

Rebecca Rose Vaughan, Bodies are Space, Installation shot with plexi, 2018

 

Do you see yourself as a political and feminist artist? What do you believe or see as the line between being a political artist and using or referencing politics in your work?

I do see myself as a political and feminist artist because I believe that the body is and will always be inherently political in its existence within the arts and media. I see it as a choice of the artist whether they want to place their work on one side of the line between a political artist and referencing politics or engage with it at all. Art is always going to be very subjective, viewers will read what they want to out of the work no matter the intention of the artist to be overtly political or not.

 

In parts of your work, you are using different physical materials and placing them on your photographic works. What is the effect of this and how does it contribute to the overall works both conceptually and aesthetically?

There is so much visual language in the world today, through multiple social media platforms fuelled by visual imagery and the internet we spend so much time staring at screen which serves everything through a two-dimensional platform.  By integrating physical objects and materials into my work alongside the imagery I am reintegrating these bodies into the 3-dimensional space. Conceptually I am referencing minimalism and sculpture and the politics around giving objects and/or bodies space to exist within a space. Aesthetically I think the plasticity of these materials points towards a common, clean and colourful ‘aesthetic’ that is so common all over social media.

 

In your time at OCAD you’ve been working in multi-disciplinary mediums. How do you think that has added to your experience in arts education and how does that contribute to the way you think about approach making art?

Working with a multidisciplinary approach to my studies and my work has been integral in helping me place my interests and work in the canon of contemporary art today. I have focused a lot on printmaking as well as photography alongside some sculpture as well. Through these mediums I have explored much of the same subject matter and themes and been able to see how they change with the introduction of a new materials and mediums.

 

Is there anyone who you would like to work with in the future?

In the future I mostly hope that I can find community within the friends and fellow artists I know. I think the most valuable thing you can do in the arts community is work with and support each other. Especially when we engage in creating artwork with potential to make an impact.

 

Are there any specific OCAD U Faculty who have influenced your work? A specific discipline or course?

In 3rd year I had a class with Kate Schneider which was honestly a huge turning point for how I view myself as an artist and my work in general. The form of support and encouragement she gives her students was something I reacted really well too. Kotama Buobane has also been my professor a number of times and has always challenged me in a really frustrating but beneficial way. In general the fact that most professors in the photo department at OCADU are practicing artists is inspiring.

 

What is one piece of advice you would give to someone starting out in photography?

To someone starting out I would say the physical practice in photography is your friend. Though there is so much digital advancement in photography and other mediums it’s so important to remember where photography came from and feed a practice that is not only digital.

 

 

Friday #ArtCrush is a weekly blog series highlighting students in their final year at OCAD University.

Interview by Morgan Sears-Williams

About the writer: Morgan is a photo alumni and runs the Friday #ArtCrush series on the OCAD U Photography Blog. She loves speaking to other artists about social justice, how to break barriers within artist communities and nurturing the arts in alternative non-institutional spaces. She is the Art Co-ordinator for The RUDE Collective, and has done workshops on intersectionality and allyship relating to LGBTQ folks. To see more, you can visit her website or her instagram.

Friday #ArtCrush: Syd Patterson

Friday #ArtCrush is a weekly blog series highlighting students in their final year at OCAD University. This Friday’s #ArtCrush is Syd Patterson, a photography student in Directed Studio. 

In this series Syd and Morgan discuss work ethic, portraits and vulnerability, and photographing your community.

Who or what are your main photographic inspirations?

Whatever I’m curious about, anything genuine that interests me I suppose… Photography seems to have given me a means to explore different aspects of life around me; everything that I’m into practicing creatively all seems to be related in one way or another.

 

What subject matter do you tend to spend the most time working on?

People mostly. Generally I do portraits or document some kind of interaction with the body, sometimes I try to convey the intimacy of our connection to place and display the subtleties of body’s relationship to space and time.

sydp3-3

You work a lot with 35mm, what do you think are the values of working with 35mm analog vs digital?

It’s really just a preference I think but in the cases when I shoot 35mm I find that you have to be more precautious about what you shoot, or at least be more certain when you take a picture because you’re more aware of how many shots it limits you to.

 

What body of work are you working on right now?

A collection of zines I hope to have ready for GradEx alongside a series of select prints. Lately my work has been revolving around aspects of community and physical collaborative efforts like building something or being proud of where you’re from.

sydp3-2

Your portraits are vulnerable and convey the obvious trust these folks have with you. How do you develop this kind of trust with people you are photographing to make them comfortable?

I’m not much of a talker and I really appreciate being able to listen, visually photographs can say a lot of different things. I’ve come to learn that I’m happiest with the photographs I take that are the most genuine, whatever that means. I like to think that authenticity is something you can translate without words so I search for that in my subject matter and wait until I can seize an opportunity to capture a moment worthwhile.

 

What drew you to photographing skateboarders and skateboard culture?

The energy for sure. It takes a lot out of you but it also gives you a lot back. It’s very meticulous but also very gratifying.

sydp4

How do you think your art practice has evolved or changed over your years at OCAD?

Going to school taught me that I need to have a work ethic at what you want to be good at, so I suppose that I learned to keep practicing.

 

Does research have an influence in how you produce your work and your art process?

Lots of “field research”.

sydp6

How do you think the critique process in Directed Studio has helped the way you view your work and process?

Contextually it helped me understand where I want to go with photography, I view it as a labour of love more than anything else and critique allows you to hone in on your talents.

 

What is one piece of advice you would give to someone starting out in photography?

Don’t be afraid to fuck up, get back up when you fall down and keep trying until you get something right…then repeat that process again and again.

 

 

Check out Syd’s Instagram and his website, and view his work

at OCAD’s Graduate Exhibition from May 3rd – May 6th

~

Friday #ArtCrush is a weekly blog series highlighting students in their final year at OCAD University.

Interview by Morgan Sears-Williams

About the writer: Morgan is a photo alumni and runs the Friday #ArtCrush series on the OCAD U Photography Blog. She loves speaking to other artists about social justice, how to break barriers within artist communities and nurturing the arts in alternative non-institutional spaces. She is the Art Co-ordinator for The RUDE Collective, and has done workshops on intersectionality and allyship relating to LGBTQ folks. To see more, you can visit her website or her instagram.

Friday #ArtCrush: Patrick Corrigan

Friday #ArtCrush is a weekly blog series highlighting students in their final year at OCAD University. This Friday’s #ArtCrush is Patrick Corrigan, a photography student in thesis. 

In this series, Patrick and Morgan talk about ideas of simulation in photography, constructing light boxes and cinematic inspirations.

Can you walk us through your process of developing a concept or research grounds for your work, and starting to produce the work(s)?

I try to work locally with my concepts. Self-reflection has proven to be the most genuine means of finding any kind of subject matter that really feels like I can speak factually on. After landing on a topic I feel is important enough to warrant further investigation I try to decide on how I can create something that best conveys my idea through image-based media.

Who or what are your main artistic inspirations?

In my past photographic works I have taken to making miniature sets which were captured in the style of film-stills, inspired by romantic cinema tropes in films like Casablanca. Recently, however, I’ve been trying to materialize a conceptual work which has been highly influenced by digital spaces and simulation. Ridley Scott’s movies have also played a big role in shaping my conceptual outlook on projects.

What subject matter do you tend to spend the most time working on?

In most, if not all of my work, the underlying concepts of the fake and the real are always present. Photography has a very unique way of providing commentary on subjective perception using semiotics.

patrick-corrigan-untitled-1-lightbox-installation-digital-image-2018

Patrick Corrigan, Untitled 2, lightbox installation – digital image, 2018

What role does research play in your art practice?

Research plays a fairly large part in my practice. A lot of what I have encountered in my own explorations of photography and image making have already been discussed by various theorists, so having a published source always helps to provide a more fortified concept.

What body of work are you working on right now?

I am currently working on my thesis work which is centred around the creation of various lightboxes which will be filled with plants. The plants will create a silhouetted projection onto the image plane effectively acting as a representation and a depiction of the object in real-time.

Can you speak to the dream-like aesthetic of the images in your thesis work and the relationship between using lightbox’s (physical objects and materials) and the photographs?

Each lightbox contains red, green, and blue LED lights which project and diffract around the enclosed plants creating the aforementioned aesthetic. I felt that the LEDs best relayed the idea of digital spaces as many computer screens use a similar means of backlighting. The photographs, when viewed in on a computer or cellphone screen can communicate in a similar fashion as they are effectively representing the same information as the lightbox.

patrick-corrigan-installation-lightbox-image-basswood-and-plexiglass-2018

Patrick Corrigan, Installation Lightbox Image, basswood and plexiglass, 2018

You are working with this idea of simulation and deception vs reality and physical materials, and the ambiguity between these thoughts. What do you hope viewers discover or contemplate while viewing your work?

I hope that viewers can adopt a principle of ambiguity within every image while viewing my work. By affording each image properties attributed to both fake and real content the audience’s ability to effectively interpret the artist or author is reinforced. The ambiguity that exists within the work also becomes a demonstration of how simulated content can take on its own physical properties.

What is the process of creating a lightbox?

I have previously worked with found objects such as shelving units, which I have then turned into frames that would make for an appropriate lightbox. After finding the frame, a back paneI is fitted with LEDs which vary depending on the intended projection and the objects are sealed within the box using plexiglass and frosted mylar. I am currently in the process of learning how to create the frames in the woodshop, which I feel will create a more substantial final piece.

patrick-corrigan-untitled-2-lightbox-installation-digital-image-2018

Patrick Corrigan, Untitled 1, lightbox installation – digital image, 2018

How do you think your process has evolved over the past couple years?

My process has evolved immensely over the last few years. Early on in my schooling I found it difficult to create any concept-based work and was purely aesthetically driven. As I progressed through my education, I have been able to derive concepts directly from my own life experiences and the resulting work becomes something that I truly enjoy making.

Are their any specific OCAD U Faculty who have influenced your work? A specific discipline or course?

A lot of the upper-year photography faculty have really provided me with an outlet to voice my crazy ideas and have not been afraid to tell me when they are not as effectively executed as they could be with more exploration. Kotama Bouabane and Nick Pye have been invaluable resources in years passed while Simon Glass has been a huge help in developing my work this year.

What do you find the most valuable about the critique process that you’ve experienced in Thesis?

Having a class full of educated artists to critique your work regularly is not something which can be easily replicated outside of the university setting, I am extremely grateful for being able to show my work to my peers and receive well-founded opinions on the work along with feedback.

patrick-corrigan-love-digital-inkjet-print-2015

Patrick Corrigan, Love, digital inkjet print, 2015

What is one piece of advice you would give to someone starting out in photography?

I think everyone has their own approach to making images and that each work should serve to improve on that unique element. That being said, one of my instructors once advised against making ‘easy images’ which is a sentiment I would echo. Try to make work emphasizes how you see the world.

Friday #ArtCrush is a weekly blog series highlighting students in their final year at OCAD University.

Interview by Morgan Sears-Williams

About the writer: Morgan is a photo alumni and runs the Friday #ArtCrush series on the OCAD U Photography Blog. She loves speaking to other artists about social justice, how to break barriers within artist communities and nurturing the arts in alternative non-institutional spaces. She is the Art Co-ordinator for The RUDE Collective, and has done workshops on intersectionality and allyship relating to LGBTQ folks. To see more, you can visit her website or her instagram.

Friday #ArtCrush: Kadijah Guillaume

Friday #ArtCrush is a weekly blog series highlighting students in their final year at OCAD University. This Friday’s #ArtCrush is Kadijah Guillaume, a fourth year photography student in thesis. 

In this series, Kadijah and Morgan talk about using the self as muse in photography, tackling identity politics and the subverting the gaze.

~

Who or what are your main photographic inspirations?

I just recently enlisted Stacey Tyrell as one of my photographic inspirations because she works with the themes of identity, race and heritage within post-colonial societies. My favourite works from her is Backra Bluid where she addressed the issue of “Whiteness” and “Blackness” within Western societies. The images and her artist statement blew me away. I find it extremely important to know that there are current Black artists who are not afraid to address issues of race and identity instead of keeping it hushed. It inspires me more to be a part of this movement and really shows that we are not afraid to speak up – especially in the Art world. Plus, Stacey is a graduate from OCAD!

 

 

What subject matter do you tend to spend the most time working on?

Majority of my conceptual work comes from my own personal life or from societal topics pertaining to the black race, the human body and womanhood. I feel as a young black artist, it is important to let others know that these topics are still very crucial and essential that hit close to home for me and for many others who choose not to openly address these through art.

 

kadijah-guillaume-i-matter-too-digital-inkjet-print-20174-1

Kadijah Guillaume, I Matter Too, Digital Inkjet Print, 2017

 

You have often used yourself in your work, what do you think are the differences of photographing yourself and photographing other people? What do you think is the value of inserting yourself into your work?

It all depends on what my work is about. Often times I use myself because it is easier to communicate what I want and how I want to visualize my concept in the photograph(s). Photographing others can be a bit of a challenge as it can be difficult finding time to photograph said person. However, on a bright note, photographing other people can be an interesting experience. Often times, I see great amount of potential in the person that they themselves don’t see. Sometimes the message comes out stronger when I photograph someone else, as it shows that the issue exists on another person other than myself. In addition, sometimes the work I am producing opens up a personal and intimate dialogue between the photographer and the model.

 

What body of work are you currently working on?

I am currently working on my thesis body of work, momentarily titled, “Where Does That Leave Black Women?” I am bouncing around different titles for this work but I am determined to come up with one successfully as soon as possible! This work was inspired by a question my friend, Tahjay, asked me in relations to black women lacking advantage and success because of their gender AND skin colour. I plan to research more on black artists who have done work relating to the topic of black womanhood. I am currently readings novels and articles that I believe to be of great help with building more ideas.

 

In your thesis you combine photography and text, which is a common theme in your work. What is your process of deciding how to incorporate text into/ on to your images?

That’s a good question. Whenever I use text, I want to make sure there is an equal visual balance between the photograph and the text. In my “I Matter (Too)” project, I used each model’s back as the canvas for the text to be placed on. I could’ve made the text take up the entire back but then the backs would be overshadowed, thus removing the presence of the black body. Overall, the use of text in my work is only essential if, once the text is removed, the concept of my work makes no sense without it. An example of this is my “Too Pretty to Be Darkskin” project where, without the racial slurs and derogatory insults written on pieces of tape that is then placed all over the model’s face and neck, the photographs just look like beautiful ethnic headshots – which contradicts my main concept.

kadijah-guillaume-for-your-eyes-only-digital-inkjet-print-20163

Kadijah Guillaume, For Your Eyes Only, Digital Inkjet Print, 2017

You mentioned in your thesis work how you are aiming to confront Eurocentric beauty standards as well as how folks homogenize certain groups of people, in this case black people. While at the same time, as you mention, not trying to antagonize your audience. At what point does antagonizing do what you want it to; confront and boldly ‘call out’ your audience for their own preconceived notions of you as a black woman and artist?

The way I see it, people are both going to understand where you’re coming from and try to help out or hear it but continue on with their life. My work is predominantly attempting to tell the audience that we (the Black community) are tired of seeing one specific form of beauty and are tired of being shoved under one umbrella of what society thinks Black people are. We are fully aware that beauty is not one-sided and that we are fully aware that our beauty and our individualism matters. We just want the rest of the world to see it as well. If a person feels offended by this message, then my theory has proven a point.

 

In For Your Eyes Only, the work draws on photographic cues of traditional pin up images however playfully subverts the male heterosexual gaze by including raw meat and blood. The effect is jarring, amusing and confronts the viewers imagination of pin up.  Can you speak to this subversion of the male gaze and using yourself as subject/object in these images? What has been the response from peers and instructors when you’ve shown this work?

This work was one of the most interesting experiences I ever had with photography. I remember looking at the “Starification Object Series” project by Hannah Wilke, where she posed topless with vulva-shaped gum stuck all over her body. It was quite fascinating how she was able to visually subvert the male gaze by adding something unappealing on top of it. That inspired me to come up with “For Your Eyes Only”. The female body, for decades, has always been sexualized and/or over-glamourized in society. For example, breasts are solely meant to feed our offspring – but in the media, they’re gawked at like sexual objects. And that’s what they were… sexual objects. I wanted to play around with this idea of making the male gaze an uncomfortable and conflicting satisfaction. And what better way to do it than to dress up and imitate a pin up or Playboy doll while holding raw meat in my mouth or hands while covered in blood! I chose to use myself because, going back in history (aka Slavery Era), Black Women were only seen as inferior sexual objects. Unfortunately, traces of that still remains in the media today. I remember when I first showed some of my work to my instructors, peers and friends, the feedback was astounding. There was a plethora of responses and reactions: shock, disgust, impressed, confused/conflicted, but overall very supportive of my bravery! Some people couldn’t look at the images for too long! Nonetheless, I was really grateful that everyone was very open-minded and supportive of the idea and work because it takes a lot of guts (no pun intended) to stuff unusual animal organs in your mouth for the sake of Photography, hahaha!

 

 

“I used to play it safe and just take pictures of buildings and landscape shots, less conceptual. I was always nervous about making work that would spark too much of a conversation – a negative one to be exact. Over time, I began talking to other peers and teachers who weren’t afraid to push the boundaries and make controversial work and it was from that moment on that I become influenced to spark conversation with my work.”

In your work, I Matter Too, confronts systemic racism as well as challenging (mostly non-black people) to think critically about the ways in which they can homogenize certain groups where the effect can be violent. The work also speaks to stereotypes on blackness and the idea of being ‘not enough’ both for folks who are black and non-black. I’m wondering if you can elaborate on this idea of not being ‘enough,’ responses you have had to this series and where the project drove from. 

Not being “Black enough” is a phrase that’s used to determine “Blackness” solely based off stereotypes and certain standards for what a black person should be, look like, sound like, act like or dress like. It’s extremely damaging because it not only pins certain black people against society, but it pins black people against each other. This relates to me personally because I have been in situations where I was told I don’t speak “black” (aka ghetto or overusing slang in my sentences) by non-black people or “Why do you speak white?” by fellow black people. Every person that is involved in this project can tell you that they have been in situations where they would surprise someone when they defy common black stereotypes. For example, one of my friends, a dark skin man, said to me that people would look at him differently because he listens to rock music. Prior to executing this series, I sat down and had discussions about the topic of “not being black enough” with many different black men and women. It was fascinating listening to their stories about ways their Blackness was challenged or “questioned”. But it was also sad to hear that their Blackness was questioned BECAUSE of these preconceived assumptions and standards of what a black person is. My project is a personal project, not just to myself, but also to those involved and to any other black person who can relate to it.

 

What is your process from when you get an idea, to shooting, and presenting the work to peers? Is research part of your process?

When I develop an idea, I like to do a bit more research through articles, books, artists’ websites and my own personal experience(s). I often think about how this idea relates to me or relates to current events happening within modern day society. I find works that relate to either one are easier and more successful for me to execute. That’s the easy part. The challenging part is the execution: finding a place to shoot, finding someone to shoot (if I am not using myself) and gathering the items/tools needed to bring this work to life (i.e: props). Speaking to those who I believe can relate to my work on a personal level is really important because the reality of the topic becomes very apparent and authentic.

kadijah-guillaume-i-matter-too-digital-inkjet-print-20172

Kadijah Guillaume, I Matter Too, Digital Inkjet Print, 2017

 

Is there anyone who you would like to work with in the future?

I would definitely like to work with more people from the Black community because I think it’s really significant to hear different people’s stories and applying it into my work. I believe their stories will influence more of my work and bring forth more awareness of the Black body in the art world. Although I have not thought about working with a specific artist per se, I do want to work with more PoC artists who use their work and practices to address the topics of race, identity and Womanhood within their culture. Minorities have a voice and it can become a very powerful one when we put our voices together, especially in a world that often mutes our mouths.

 

How do you think your process and art practice has changed over time?

I definitely can say my work as changed a lot since I started getting into Photography. I used to play it safe and just take pictures of buildings and landscape shots, less conceptual. I was always nervous about making work that would spark too much of a conversation – a negative one to be exact. Over time, I began talking to other peers and teachers who weren’t afraid to push the boundaries and make controversial work and it was from that moment on that I become influenced to spark conversation with my work. I have grown a new attachment and love towards conceptual work. I love a photographic project that allows me to look at it and think or have a serious discussion with another person because photography is not just about taking pictures of landscapes anymore to be on the “safe” side. A lot of my work is conceptually based off my personal life and current social issues that I was once too afraid to openly talk about.

 

Are their any specific OCAD U Faculty who have influenced your work? A specific discipline or course?

I would say any of the courses I have taken where I had to use the body as the subject or make conceptual work definitely has influenced my work. A few examples are: Body and the Lens, Conceptual Photography, Light and Studio, Colour as Meaning, Face Forward, just to name a few. These courses allowed me to push boundaries and try things I have never done before in regards to ideas and concepts.

 

kadijah-guillaume-for-your-eyes-only-digital-inkjet-print-20164

Kadijah Guillaume, For Your Eyes Only, Digital Inkjet Print, 2016

 

What is one piece of advice you would give to someone starting out in photography?

Be prepared to spend a fortune on equipment! Hahaha. But in all seriousness, do not hold back on what you want to photograph or how you want to photograph your idea. I am speaking from a conceptual point of view. Not everyone will understand your work or your practice and that is 100% okay. At the end of the day, it’s about YOU. It’s about your satisfaction and how YOU want to achieve your work. Your work isn’t meant for everyone and that is something I learned throughout my years studying photography. I have had people try to persuade me into a different direction of their liking, but I didn’t let them because my work wasn’t trying to impress them.

From a general point of view, learn the history of photography before you go into it. I find a lot of people go straight into digital photography but have never even touched a film camera (no, not an instant polaroid camera) or knew what Photography began with. It’s similar to that episode of Big Bang Theory where Penny wanted Sheldon to teach her about Leonard’s work but Sheldon couldn’t do so without first explaining the history of Physics. I find learning about the history of photography and the development of it over the decades will allow a person to appreciate Photography and its practice a lot more.

Other than that, just keep shooting. Never stop shooting. Even walking around with a camera on you is always good because you never know when you might need it or when you’ll discover the type of Photography you want to practice in.      

~

Check out Kadijah’s Instagram, and view her work at OCAD’s Graduate Exhibition in May!

~

Friday #ArtCrush is a weekly blog series highlighting students in their final year at OCAD University.

Interview by Morgan Sears-Williams

About the writer: Morgan is a photo alumni and runs the Friday #ArtCrush series on the OCAD U Photography Blog. She loves speaking to other artists about social justice, how to break barriers within artist communities and nurturing the arts in alternative non-institutional spaces. She is the Art Co-ordinator for The RUDE Collective, and has done workshops on intersectionality and allyship relating to LGBTQ folks. To see more, you can visit her website or her instagram.

Friday #ArtCrush: Ishkhan Ghazarian

Friday #ArtCrush is a weekly blog series highlighting students in their final year at OCAD University. This Friday’s #ArtCrush is Ishkhan Ghazarian, a fifth year photography student in Directed Studio. 

In this series, Ishkhan and Morgan talk about on location vs in studio shooting, lighting styles and using fine art as inspiration for his portrait sessions.

~

What is your favourite lighting set up and camera/lens combination?

My favourite lighting setup is Rembrandt style lighting. I tend to do most of my shooting on location, outside the studio, so I prefer using natural light diffused through a window or reflected off a building. My favourite camera set up is my Nikon D850 with my 50mm f1.8 lens.

 

Can you walk us through how you set up the studio during one of your shoots? 

When I shoot in the studio, for most cases, I have a pretty simple setup. I am a big fan of having a one light setup in combination with a reflector. I setup the light to the right of the subject very similar to a Rembrandt style. Having one light source allows me to control the depth that I desire in the photos, and using the reflectors I can fill in the shadows with my desired amount of light based upon specific mood I want to achieve.

phoenix

Ishkhan Ghazarian, Untitled Portrait, 2017

How does your shooting style change on location vs. in studio? How do you see these two options as changing the mood or lighting of your shoots?

When I am on location verses in studio my style does change, but only slightly. When shooting on location the biggest change comes when looking for lighting. Since you are not in a studio you are constantly looking for external sources of light, whether it be from a neon sign, the sun peeking through branches or a beautiful soft light diffusing through a window. All these different sources of light change the mood of the photograph, so planning ahead, scouting the area is a good idea, but when on location things can change in an instance. This challenge is one of my favourite reasons of shooting on location, you always learn something new.  When I am shooting on location the surroundings also play a big role in the mood of the photographs. The surrounding become part of the photograph and are as important as the subjects themselves.

Do you collaborate with other artists on your shoots (stylists, makeup artists, other photographers etc)? If so, what do you see as valuable about collaborations between artists?

Yes, I often collaborate with models, stylists and other photographers. Collaborations are a great opportunity to not only learn something new from others, but also to challenge yourself to doing something you might have not done otherwise. Often you might feel like you are stuck, creatively, so collaborating with other artists give you a chance to experience something new and I highly recommend everyone to do this.

 

“Rembrandt’s paintings such as his portraits influence my lighting and composition, and Pablo Picasso’s paintings inspire my colour palate. Everyone should go to an art museum and look at fine art, these works in here are from people that were a master of their craft, and who better to learn from and get inspired by than them.”

 

When scouting or looking for models, who or what do you look for?

When scouting for models it all depends on the situation. Sometimes I will have a certain vision of what kind of photograph I am looking to create and I will match my project to the subject, or visa versa. Sometimes the project will be a collaborative effort where a model has a vision and we work as a team to make that photograph happen.

What makes you finalize the last couple images that you publish, after you have done a full shoot?

After a shoot is finished I import all the photographs into lightroom, go through all the photographs and begin a very thorough elimination process. I will be looking over the composition, lighting, focus, and expression and find the ones that speak to me the most. Sometimes your best photograph might not be the one that is most in focus but what matters is that it resonates with you.

roshan

Ishkhan Ghazarian, Untitled Portrait, 2017

What do you look at for inspirations for each of your shoots?

My inspirations come from a couple different places. One of my sources of inspiration comes from fine art. Rembrandt’s paintings such as his portraits influence my lighting and composition, and Pablo Picasso’s paintings inspire my colour palate. Everyone should go to an art museum and look at fine art, these works in here are from people that were a master of their craft, and who better to learn from and get inspired by than them.

It seems like you do a lot of on location shooting. Do you have any best practices or tips to give other photographers who want to improve their location shooting?

Practice, Practice, Practice. Always look at your surrounding, learn about your environment and take all that it can offer you.

Since you do a lot of portraiture, how do you manage getting your model or subject comfortable enough for you to photograph them?

(hahaha) I can’t give away all my secrets. Every photographer does it differently but it is about making the model comfortable. For me that just means being myself, and letting the shoot progress naturally.

Where do you see your career path going and who would you most like to work with/for?

I plan on continuing my work as a freelance photographer, running my own business.

alicia

Ishkhan Ghazarian, Untitled Portrait, 2017

What is your advice for artists who are looking to make their art practice into a business?

If there is one piece of advice I can give you is, Network, Network, Network. Start with people close to you, friends and family, it’s a good way to practice and figure out what you like and what direction you want to go into. This part can be extremely difficult and it’s very rare that it will happen in a day, but it can. Never giving up is the key, don’t lose focus and keep your head up, always.

Are there any specific OCAD-U Faculty who have influenced your work? A specific discipline or course?

I don’t think there is one specific person, but every faculty member has in their own way touched on something and has definitely helped me improve not only my work, but also my work ethic, the way I approach different situations/problems and have guided me in the right direction that I needed to go in.

What is one piece of advice you would give to someone looking to collaborate with other artists?

Ask! Be confident in your work and in yourself, you never know who might be wanting to work with you.

~

You can see more of Ishkhan’s work here, and follow him on instagram.

Follow the OCAD U Photo Facebook page and Instagram for more opportunities, calls for submissions and news about students.

~

Friday #ArtCrush is a weekly blog series highlighting students in their final year at OCAD University.

Interview by Morgan Sears-Williams

About the writer: Morgan is a photo alumni and runs the Friday #ArtCrush series on the OCAD U Photography Blog. She loves speaking to other artists about social justice, how to break barriers within artist communities and nurturing the arts in alternative non-institutional spaces. She is the Art Co-ordinator for The RUDE Collective, and has done workshops on intersectionality and allyship relating to LGBTQ folks. To see more, you can visit her website or her instagram.

Friday #ArtCrush: Jerome Clark

Friday #ArtCrush is a weekly blog series highlighting students in their final year at OCAD University. This Friday’s #ArtCrush is Jerome Clark, a fourth year photography student in thesis. 

In this series, Jerome and Morgan talk about engaging with questions of failure and perfection within artists, how to create effective portraiture and using historical photographic processes.

~

Who or what are your main inspirations?

I mainly find inspiration in conversations, interactions with others, and thoughts (often questioning why I am interested in something). Also just taking in the environment and culture around. There is something within those experiences that act as a catalyst in wanting to push an idea further, transforming the idea into a body of work.

What subject matter do you tend to spend the most time working on?

The subject matter I have been spending the most time working on is interactions with people through past experiences. I have also been working on trying to find elements or materials that can serve as a way to represent a message. This has led me to explore techniques in the darkroom and using many processes as a platform for tying my work to subject matter. For example, in my thesis, I have been using solarization as a way to represent a loss of control, as you lose some control through the solarization process itself and you are never quite sure what the outcome of the prints will be.

You work a lot with portraiture, what do you think are essential elements of creating an engaging portrait?

Some essential elements of creating engaging portraits are having an understanding of what is being created beforehand and being on the same page in what is being created with the subject. I am interested in taking photographs that are thoughtful and hints or says something beyond aesthetic (though aesthetic still plays a role in my work). Listening to what the subject likes or dislikes is important in creating an engaging photo. Paying attention to these details not only shows that you care, that you are listening and you have the subject’s interest in mind but this also helps you to think of other ways to successfully photograph the subject in a way where everyone is happy.

img_7921

Jerome Clark, Caleigh, resin-coated prints developed and solarized in the darkroom, digital inkjet print, 2018

“The process of solarizing images involves developing the photos in the dark room and re-exposing the images another time to low light as they are developing which ends up damaging the prints but also can changes elements like texture, and colour if the process is effective.”

What body of work are you working on right now?

The body of work I am working on right now is my thesis. I have been talking to artists about how their ideas surrounding perfection can negatively influence or affect their work and state of mind. Through conversation, I was really interested in hearing and understanding their thoughts from many different perspectives, and the psychology behind their way of thinking about their work. I was also interested in finding commonalities between myself and the subject, which range from feeling the work is inadequate, to feeling the work is never done or like you have failed after starting over two or three times.

The title of your work, Before our Conversation, insinuates to the process of the art practice. Of conversations that happen with those who are photographed and how that is the process of the project. What is your insight into how these conversations contribute to and mould your concept? 

The title definitely insinuates to the process of the art practice. It can be broken down into two parts. The first part involves taking the subject’s photograph with a medium format camera to capture a high amount of detail. Taking their photo always happened before the conversation involving the subject’s artwork. The second part involved having the conversation, where I got to listen to what was being said and learned about the subject’s way of thinking. I felt naming this body of work Before our Conversation made a connection to something outside of the images, even before the viewer has a chance to read about the work. The title implies that something has happened and that the images are the outcome, which helps when looking at the photographs and not necessarily knowing exactly what is happening. These conversations contribute and mould to this concept through all of these conversations and showing how aware people can be of their own negative thoughts, especially towards their own artwork. 

Solarizing the images also speaks to the idea of loss of control and giving that control up to other elements. What made you want to take this project in that direction, and what is the process of solarizing the images?

The topic of control plays a big part in my work. I often feel a loss of control and that my work is incomplete because I cannot be in complete control of the outcome in what I am trying to create. This realization is what led me to think about experimental processes where some control was being lost, which is why using solarization worked for this body off work. The process of solarizing images involves developing the photos in the dark room and re-exposing the images another time to low light as they are developing which ends up damaging the prints but also can changes elements like texture, and colour if the process is effective.

solarized_portrait01

Jerome Clark, Aref, resin-coated prints developed and solarized in the darkroom, digital inkjet print, 2018

Is there anyone who you would like to work with in the future?

Yes, there are so many people I would like to work within the future, especially in portraiture. I would like to collaborate with other artists where they also bring their discipline to the work we would create together, whether that involves painting, drawing, sculpture, creative writing or text, etc. This will help in bringing out one’s interests and passions in a photograph. At the same time, we can learn a lot about each other through our interests.

You seem to work as a conceptual artist as well as a commercial photographer. What do you see as links between both of these streams and how do they inform your art practice?

For me working in both conceptual and commercial photography, it is important that both types of photography are communicating something. Also that both styles of photography share a message beyond aesthetic or what is on the surface despite how different both styles may be from one another. The principles of design can also be found in both styles and I am actively considering different elements like line, space, mass, colour, and texture in how they inform the end result of an image. I would like to work on ways to have both conceptual and commercial styles coming together more in my art practice. There are image makers like Nick Knight, Inez and Vinoodh, and Sølve Sundsbø who I feel blend conceptual art, commercial photography and fine arts well together.

loredana01_pinhole

Jerome Clark, Loredana, 2018

Are there any specific OCAD U Faculty who have influenced your work? A specific discipline or course?

Yes, there are a few! 

Peter Sramek who has influenced refining the technical aspects of my thesis work in the darkroom, especially when showing me another way to solarize my prints to isolate certain things about the solarization process that I like. Kate Schneider, April Hichox, and Simon Glass have influenced me to think more critically about what I am seeing when looking at artworks and thinking more critically about what I am trying to say. Catherine Black, and Lillian Allen, for influencing me in articulating my thoughts, especially when describing my work. (Take one of their Creative Writing classes if you can!) And John Jones, for influencing how I see light in studio, and guiding me to look for elements in photographs that hint at something else like symbolism for example.

What is one piece of advice you would give to someone starting out in photography?

Photograph everything and anything you find interesting. There have been so many instances where I did not take a photo of something I found interesting because I was conscious that there were people around me or I was worried about being judged for taking a photo of something that someone else would have thought was bizarre in that moment. The subject that caught your interest should be the only thing on your mind in that moment.

~

Friday #ArtCrush is a weekly blog series highlighting students in their final year at OCAD University.

Interview by Morgan Sears-Williams

About the writer: Morgan is a photo alumni and runs the Friday #ArtCrush series on the OCAD U Photography Blog. She loves speaking to other artists about social justice, how to break barriers within artist communities and nurturing the arts in alternative non-institutional spaces. She is the Art Co-ordinator for The RUDE Collective, and has done workshops on intersectionality and allyship relating to LGBTQ folks. To see more, you can visit her website or her instagram.

Older posts

Use of this service is governed by the IT Acceptable Use and Web Technologies policies.
Privacy Notice: It is possible for your name, e-mail address, and/or student/staff/faculty UserID to be publicly revealed if you choose to use OCAD University Blogs.