CAMERA OBSCURA, 1996 - 1998
Group I: The Snaps, 1996
Group II: The Family Museum, circa 1996
Group III: The Shots, 1998
The paint on these traditionally stretched canvases has been sanded down so that canvas fibers show through. The dry paint particles were then brushed into the center of the pieces, which had been taped out, and pushed into the weave of the canvas. This technique, also used in Body of Work, breaks down the distinction between the canvas or background, and the media on top of the canvas. Dark colors were used in order to experiment with the absorbance instead of the reflective properties of light. Scattered on the wall like Polaroids, these pieces are meant to evoke rough snapshots taken in the dark.