Student Works Gallery Showcases Experimental Photography

The Student Works Gallery will celebrate the unconventional side of photography as it presents an exhibition, titled “Process,” featuring works by students in the Department of Fine Arts’ “Advanced Photography” course, from Feb. 12 to April 9. An artist reception will be held from 5 to 6 p.m. Thursday, Feb. 19, coinciding with Camden’s Third Thursday Art Crawl.

budesa-copy

Untitled work by Kelly Budesa

Students in the course, taught by Ken Hohing, an instructor of art and head of the photography concentration, are encouraged to explore image making through ways other than traditional “shoot and print” methods.

“Although digital technologies and approaches are acceptable, traditional film-based materials must be incorporated into the creative process,” explains Hohing.

Such methods can include use of film cameras, professional to Lomographic; paper negatives; pinhole and handmade cameras; flatbed scans of film; transparencies and photographs, and historical processes such as Cyanotype, Carbon, Gum Bichromate, Platinum, Gold Leaf, and Mordançage. Mixed media, image transfers, three-dimensional, and Encaustic methods are also explored.

“In this course, content is secondary to process,” says Hohing. “Experimentation is in itself the goal rather than merely the path to one.”

The exhibition is curated by art student Sara Hawken. The student artists, with personal statements on their work, are as follows:

Zachary Borden
“The Spirit in Her Medium”
Gum Bichromate
~8” x 10”

Gum Bichromate originates from the mid-19th century. It uses the light sensitivity of dichromate salt to harden a gum emulsion upon exposure to ultraviolet light. If a pigment is mixed with the emulsion, the hardened gum will retain it, while the unexposed regions are washed away.

Kelly Budesa
“Untitled”
Encaustic Mixed Media
12” x 12”

My artwork is the culmination of experimentation of combining my photography with the Encaustic process. It was my mission to showcase the process and have each piece display a great depth of made-by-hand techniques.

"Fade" by Sarah Detrick

“Fade” by Sarah Detrick

Sarah Detrick
“Fade”
Mordançage

Mordançage has a ghost-like effect, leaving an unsettling feeling of deterioration. As the prints wither away, they change into something darker to think about. With a hands-on process of making this happen to prints, it physically changes reality.

Anthony Jaskolka
“Untitled”
Image Transfer on Aluminum

I used aluminum to create a metallic look to my black-and-white film photograph – to provoke an isolated and detached feeling. By choosing an imperfect piece of aluminum, it reinforces the idea of ‘nothing is perfect and one will never know where the road takes them.’

Jessica Kaitz
“No Turn 2”
Photo Emulsion, Inkjet
11” x 14”

The emulsion lifts illustrate a warped reality. Each image has been distorted. This portrays how each experience in life an individual encounters can warp how they see the world. Such simple subject matter helps drive home this idea by contrasting the simplicity of every day and the complexity of our daily interactions.

Laura Kusisto
“Untitled”
Image Transfer on Aluminum

Image transfer allowed me to combat the normal focus of a crisp picture and to test how a photo transfer can allow an image to look grainy and yet still bring out strong colors. The images were scanned and printed using a laser printer. The watercolor paper was treated with the gel medium.

Nick Lafont
“Ca’ D’oro”
Acrylic Gel Medium Transfer on Backlit Marble

My intent was to a make a small study of architecture and decay in the context of gothic ornament and industrialism. Marble was chosen because of its semi-opacity. I felt it pragmatically made sense as its veins and natural variation complimented the decay of the buildings in the photographs.

“Purgatory” by Christina Maxon

“Purgatory” by Christina Maxon

Christina Maxson
“Purgatory”
Gel medium, Inkjet, Watercolor paper, 3 35mm developed photos

The way the images transferred to the watercolor paper distorted the images portraying the eerie look to what my idea of “Purgatory” is: loneliness. The image of the child was a negative from the 1920s. I then transferred the print using gel medium. Matte Mod Podge was applied over the transfer to act as a sealant.

Kyle Ward
“Untitled”
Mordançage

The alternative photographic process of Mordançage was used. As I was experimenting with X-rays, I noticed the prints where turning brown, making the scanned bones look realistic. From this discovery, I knew exactly what I wanted my end process to turn out.

The Student Works Gallery is located behind the Corner Store on the main level of the Campus Center. Gallery hours are the same as the store, which are Monday to Thursday, 8:30 a.m. to 11 p.m.; Friday, from 8:30 a.m. to 8 p.m.; and Saturday and Sunday, 10 a.m. to 8 p.m.

For more information on the gallery, contact Hawken at sara.hawken@rutgers.edu.

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