In the In-Between | From a Distance
The idea of exploring the use of paintings as photography came out of the question “What is a photograph?” I began by using early European masters’ paintings in a photographic context to create a dialogue between the two mediums and investigate the sense of time and the historical gap between them. In the series In the In-Between, I am combining early European masters’ paintings with modern technology, photographic techniques, and surface to juxtapose the past and the present. The original painted images are printed in reverse photographically, and then painted abstractly, compressing and expanding the connections between the passage of time, transition, transformation, and memory. The series integrates my interest in art history, color theory, and found imagery. Color and mark-making are also used to emphasize or diminish certain elements of the photographic image, similar to the deterioration and fading of physical and material things over time.
This series is an exploration of the past and the transition to the present. As I artistically engage with these painted images, I am building my own visual language through color theory, scale, and texture to elicit an emotional response and to activate a new context.
My creative process is about searching, looking, and finding. It includes resurrection and reimagination, and it is slow, requiring time, waiting, and craft. I find images in junk shops, flea markets, books, and on the Internet, and then recapture them on film and print the new image in the darkroom. I love using film with all of its fragility and flaws. In Japanese, the beautiful word natsukashii (懐かしい) identifies the feeling of evocative longing for something past — a yearning nostalgia that’s also very sad, as it reminds you that what you remember will never happen again. Film physically manifests this emotion in a metaphorical way, capturing a moment that comes and goes, then vanishes, leaving only the visual record behind as proof of its existence.