New Readings

Rochester Institute of Technology

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2005

New Readings

Gi Dong Lee

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Recommended Citation

New Readings

By

Lee, Gi Dong

Submitted in partial fulfillment of the

Requirements for the Degree of

MASTER OF FINE ARTS

MFA Imaging Arts

COLLEGE OF IMAGING ARTS SCIENCES

ROCHESTER INSTITUTE OF TECHNOLOGY

ROCHESTER,

NEW YORK

September 2005

Therese Mulligan

Therese Mulligan, Ph.D.

Committee, Chair

Professor

Coordinator, MFA in Imaging Arts

School of Photographic Arts

Sciences

William Osterman

William Osterman

Professor

School of Photographic Arts

Sciences

Angela Kelly

Angela Kelly

Associate Professor

School of Photographic Arts

Sciences

Date

Date

ThesislDissertation Author Permission Statement

Title of thesis or dissertation: _{----~~~~-L~~~a+~---}

!Yew

R-eo.G'l"""f<.

Name of author: Degree:

Program: College:

I understand that I must submit a print copy of my thesis or dissertation to the RIT Archives, per current RIT guidelines for the completion of my degree. I hereby grant to the Rochester Institute of Technology and its agents the non-exclusive license to archive and make accessible my thesis or dissertation in whole or in part in all forms of media in perpetuity. I retain all other ownership rights to the copyright of the thesis or dissertation. I also retain the right to use in future works (such as articles or books) all or part of this thesis or dissertation.

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I, Gi Dong Lee , hereby grant permission to the Rochester Institute

Technology to reproduce my print thesis or dissertation in whole or in part. Any reproduction will not be for commercial use or profit.

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New

BY

GI DONG LEE

B.F.A.,Photography,Art Center Collegeof_Design, 2002 M.F.A., Photography,Rochester Institute of_Technology, 2005

ABSTRACT

Thisthesisexploresthesearchforacreative processfor myphotographic studies

overthepasttwoyears atRochester InstituteofTechnology. Itexplainsthe thought

behindtheartworksuchas_{why I}aminterestedinthegenre of still_{life, inspiration,}

process, and_myfutureartistic goals.

The subjectmatter of_mythesisexhibitionmotivated metoexploretheworldof

stilllife. _Bypaintingonan_{object,myimagery}has evolvedintoa new_readingthatledto

a newinterpretationofthe stilllifeboth physicallyand psychologically._Mythesis

imagesemphasize anewaesthetic experience not_usuallyassociated with traditionalstill

lifephotography.

In mygraduate_studies,I havecometoknowthatIneedthefreedomtoexplore

ACKNOWLDGEMENTS

Iwouldliketo _say"thankyou"

toTherese_{Mulligan, Ph.D.,my}thesis chair,

andcommittee_members, Willie OstermanandAngelaKelly. Dr.Therese Mulligan

has introducedmetoa lotof significantideasabout art andshehasclarifiedforme

various challenges within_mywork.Willie Osterman haspushed_me, challengedme

and confused meto arrive at good solutions.AngelaKelly's knowledge has directed

meto_manynewideas. Iwishtoexpress_mygratitudeto_mycommittee membersfor

theirsupport and advice. Ithas been invaluable.

Iwouldliketo recognize_mygraduate colleagues whohaveshowedinterest

and_generosityandhaveencouraged and advised_mywork. _Finally, aheartfeltthank

youto_myparentsand_familyfortheirsacrifice and emotional supportthroughout_my

graduate studies.

Dedicated

To

Myparents(Ho-San LeeandYong-Soon_Kim) and_myfamily

Contents

1.1 Introduction 1

2.1 _Whytheinterestinstilllife? 2

2.2 _Whydoesthestilllifecontinuetobe

animportantgenre? 4

2.3 Inspiration 6

3.1 _Mythesisexhibition 9

3.2 Graduateexperience 13

- Still Life I

Portraits

- Still Life II

Minimalism

4.1 _Tabletop 23

-Lighting - Background

- Objects

- Color

- Digital Process for_output

Conclusion 31

1.1 Introduction

The_primarygoal of_{my thesis}project entitled"New

Reading,"

is basedontheidea

of_tryingtomake a subjectof stilllife_usingvariousbooksthatIhavepaintedtocreate a

unique subject. I_{have been exploring}theart ofthestilllifeforthelast fiveyears. Still

lifecanbedefinedas a collection of one or moreinanimateobjectsthat arearranged_by

the artist, thephotographeror_bycircumstance. Stillliferequires totalcontrol over_every

aspect ofthecomposition _{setting up}the_displaywith objects and_lightingand_deciding

with exposurehowto take thephotograph.While somecompositions_maybe_complex,

others canbesimple._{In myexperience,both}approaches canbe dynamic and effective.

Photographyis one ofthemost_historicallyimportantmediums_{in recognizing}the

senseofsight. Ithasexpandedthe_possibilityof_expressing artisticintent. It hasalso

influencedotherfieldsof_{media,includingpainting}andinstallation._However,in

photography and_{art, the}genre ofthestilllifehasfacedchallenges._Today, thestilllife in

photographyis asubjectthatis_becomingmore neglected. Oneofthereasonsis thatstill

life_photographyis also usedincommercial photography. Butin fineart_{photography, the}

stilllife doesnot_onlyrepresentthecaptureofthetruelikenessbutalso incorporatesthe

personalityoftheindividual. Perhapswe canlookto developmentsinnew_imaging

technologiestoraisethestatusofthestilllifein photography toa new placeinstilllife

images. Newdigital technologies,such as_software, scannersand_printers,provide new

opportunitiesto_develop anew stilllife aesthetic,becausetheywould give credenceto

thestilllifetocreate theimageswithdigitalmanipulation andcorrectionsuch as_lighting,

Thepurpose of_{my thesisistoanalyzetheimportant}representationof stilllife

photographyinconsiderationof_{its historicalbackground,my interest}and creative

process, andtoday'sdigitaland_printing technologicalboom. Iwillillustratewhat

functionand valueis in_mywork andhowit isrelatedto_myworkthroughstilllife

paintings andphotographs. Intechnological_development, Iseektoresolvethenew

meaningof stilllife_photography,such asthedigitalprocessforoutput andhowto

maintain stilllifeas fine_art,howtobalancerelationsbetweentheself and_{the world,}and

howtoattain a_{satisfactory understanding}ofstilllife.

In mystilllife_work,Iwanttoexpress_{my sensibility}tospace andfeeling.

Drawinguponthepaintings ofthe_{earlytwentieth century,}Ihavetried toreplicate

respects oftheenormous range oftheiraesthetic and philosophicalthought._Mywork

seekstoexpress abstract stilllife photographywithelements ofModernismand

Postmodernism. Isearchforthesubstanceofobjects and non-essentials are abandoned.

Givingvariousmeanings, I endeavortocreate worksinwhich_form,shape andlineare

directandstrong, integratedwithharmoniouscolors.

2.1 _{Whymy interest in} stilllife?

When Istarted_learningaboutstilllifephotography, Iwasalways_lookingtofind

myown_{way in}theartworld.Iwantedto createa new orderbecauseI alwaysthought

that_myphotographs weretooconventional. As Brian Walliswroteinhis _{essay "What's}

wrongwiththispicture?"

"Modernismis exhausted; itsonce provocative or outrageous

products lieentombedintheculturalinstitutions_theyoncethreatenedand

offended."

1)

mypicturesandtheirestablishedmodernistic order.Since comingto_studyin_America,I

learnedalotabouthowtoseetheart_world,whatisthe_territoryof_art, and_whywe need

art.

Keeping

mind,Ihaveattemptedtofind differentperspectives

on_photography

by

exploringthegenre ofstill_life,althoughthereare_{manyinteresting}

photographic subjectssuch as_{landscapes,portraits, documentary,}anddigital

photography. Ineededto_developnew strategic plans_{for my}approachtostilllife

photography.

I aminterestedinstilllife_{photography because it}embodiestheborderline

betweenfactandfiction. Iknow_manyphotographers contendwith implied_veracity, so

theyare always_inventingother realities.Tome,straight photographdoesnot_literally

replicate a scene becausethereisatransition thatbreaks fromreality.Thestilllifegenre

isaneffectivetool:Itcan_implya real _situation,while_openingtheworldto_imaginary

possibilities. _Importantly, it isanother_waytocommunicatethemeaningsand_feelingthat

Iwanttoconvey.

Another_interestingaspectisthatstilllife photography isawonderful genreto

develop andhoneavision.Idonotneedtoleavethehouseortravelto_anydistantplace.

Icantake_mytimewiththesubjectandmanipulatetheobjectsonthe tabletop._Everyday

objectshidetheirbeauty. Althoughwe seethem_everyday, we_{rarely look closely} or

examine _everydayobjects in anycreative way.I begun my studyofstilllife_by

researchingtheworks of_manypainters andphotographers PaulCezanne (1839-1906,

France), Vincent Van Gogh (1853-1890, Netherlands), Giorgio Morandi(1890-1964, Italy),and

photographers,Josef Sudek (1896-1976,Czech),Imogen Cunningham(1883-1976,America),

(1946-1989, America) Iwas also inspired

by

Expressionism,which were artmovementsthatpavedthe_wayfortheavant-gardeinthe

twentiethcentury._Bystudyingthese_{movements, I}have learnedabout_abstraction, which

emphasizedfundamentaldesignprinciples such asproportion, color,positive/negative

space, shape andsymbolic/metaphorical meanings.Thestilllifeenabled me toreachfor

new

imaginary

2.2_Whydoes thestilllifecontinuetobeanimportantgenre?

Thegenreofstilllifeis animportanttopicnot_{only in}art_historybutalsofor

photographyas awhole. Thestilllifeoffers auniquerepresentationalindexnot_onlyof

artists'

interests andformal_concerns,butalsooftheir time. _{In anyera, the term}stilllife

means_virtuallythesamething:"thedepictionof objectsthatlackthe _{capacity for}

self-governed

motion"

(Kahr, 1993,p.190).

Inthe 17thand 18th

centuries, thestilllife becamea specialist genre and an art

form in Northern Europeancountries,includingtheNetherlands. Stilllifepaintings most

often were aimedat a market of_wealthybuyers,_particularlythosewhoprospered

through trade.The subjects forstilllifewere oftensimple andcommonplace suchas

flowers, fruit, books, foods, etc. These familiarthingswererendered symbolic. _They

offered_meaningtied_{to morality, religion,}andculture.Experiments have beenmadeto

extendtherangeofthegenre andtoseekmethods of_involvingtheviewer.

Fromthelate 19thcenturyto theearly 20th

century, artists, includingPaul

Spain),and_{Giorgio Morandi(1890-1964,}

Italy), greatlyexperimented withtheestablished

pictorialforms ofthestilllife. _Theyplayedwithaspectsofperspective and_realityto

construct_{a new pictorial view offamiliarobjects. Aview}

whollyinstep withtheir_day

andconcerns of pictorial_composition,the twodimensionalpictorial_{surface,meaning}

and vision. _Theywantedtoexpress abstract andmetaphysicalpictures. Photographers

such asMan_{Ray(1890-1976,America)}and_{Andre Kertesz (1894-1985,Hungary)}intheir turn

pushedbackthe

boundary

toexpress still _{life,technically}and_{artistically working}withthearrangementof_light,

exposure andtherange ofdarkroom skillstoalso addressideasof_{fact/fiction,}

reality/illusion, andtwodimensional/threedimensionalpictorialdisplay.

Today,contemporary Postmodernartists challengethe fundamentalideasof

traditionalstilllifephotography._Theyquestionaspect of_{beauty,meaning,} and pictorial

forms thathave informedtraditionalways of_representingstilllife._Thus,the stilllife in

photography ischangedbecausePostmodern ideasrejectthe traditionalforthenew. As

theconceptof representation_{changes, the truthfulness}and_authenticityaboutthe

representation ofstilllife photography changes as well.In_{this respect, the}representation

of stilllife_{photography begs}theessentialquestion aboutthephotographic_object,which

is subjective, ambiguous, narrative,and arbitrary.

Exploringtheideasofstilllife inanhistoric _aspect,Iamawarethatstilllife isan

evolving system ofrepresentationand meaning.I amstill_strugglingwiththis

transformation: whatisthenatureofreality? _{Studyingphotography} andart_history over

thepast_{two years,}Ibegantoseethatitwastime tochange_myprevious mannerinwhich

2.3 Inspiration

"He repeatedlyworked onthesame subjects for_long periodsand_constantlyrepainted and revisedhispictures

displaying

Cezanne foundinstilllifetheperfect vehicle forhis

revolutionaryexplorations ingeometric spatial organization._"2)

www.arts-studio.com/cezanne.

Figurel,PaulCzannec. _1890-92, Figure2. Asketch,2000,6.9x10.8inches. 28.5xl6.5inch,NortonSimon Museum.

Pasadena,CA

Paul Cezannewasaninfluentialfigure in_helpingto determine_myideasabout

thestill life.I wasfascinated_byhisparticular stylethatis concreteformscontainedin

space andlight. Theinspirationforme wasthatCezanne'sfocuswastocreate and

traditionalperspective._Cezanneemphasizedthe_realityofthe twodimensionalpainted

surface,notthethreedimensional painted windowviewoftheworld.Istartedtoseethe

still_{life in}a_different

wayandIwould useCezanne'sre-interpretationof pictorial space

and surface_{in creatingmyphotography.}

Ihad sketchedthemost

interesting

Pasadena,CA. Althoughtherewere_many

interesting

variouskindsofRenaissance_paintings,various portraitsinan expressionisticstyle, and

landscapes and stilllifeinimpressionisticand modernisticstyles, myeyekept returning

toafloralstilllife_byCezanne. Atthat_time,Ididn'tknowwhy.After seeingthework of

Cezanne Tulips inavase_(figurel),Idrewit in mysketchbook(figure2). I foundmyself

attractedto_{incorporating}hisaesthetic elementsofstill_life, andIwas also interested in

hisuniquetreatmentof_{space, mass, value, texture}andcolortocreateanillusion of a

constructed reality.Ialsolikedthe_{way light fell}on_{objects, creating something}more

solid anddurable. Therewasalsothepainting's_tonality,whichresonates with

psychological feeling. After_travelingto themuseumand_{seeingthe painting,}Ibeganto

seenewwaystoapproach_{my photographybyemphasizing, stressing}and exploring. I

foundouthowtomakethe_photographythatIwant.

"Interview:whatdoyouthinkofabstract painting?

Answer: abstract_{painting has}given us some_very

importantworks,ifwe_think,forexample,justto

name _one, ofPaul Klee...

.earlyCubism... Braque.... Picasso....

In myopinion,nothing is abstract.Infact,Idon't

think there's_anythingmore surrealor more abstract

Interviewwith GiorgioMorandiforthe

"VoiceofAmerica"recorded onthe25thApril 1957, from _{www, museomorandi}.it

Anotherpainter who_impactedmyworkis GiorgioMorandi. I wasdrawntouse

hismetaphysical idea

"nothing

He isconsideredto beone ofthegreatest

Figure 3. Giorgio Morandi StillLife,c.1955,Gift

ofMr.and_Mrs.HarryLenartin honorof_Rusty and_NancyPowell,1997.

Figure 4. Untitled,24x31.4inches,2004.

masters of still lifepainting. To_me, his_paintinghasa mystic and poetic_feelingtowards

thenature oftheobject. Hisconceptual ideastouchedmedeeply. I kepthisworkcloseto

my heart. Ilearnedpictorial skillfultechniquesfromCezanneandfrom_Morndi,howto

make more_{thoughtful,psychologically}forms filledwith emotional nuance and purpose.

Morandiprobedtheinnate_beautyanddramaofthe simple stilllife_object, whichhe

continuallyexploredthroughouthiscareer.Hispaintings_modifytraditionalformand

subject matter_{by depicting}objectsatperfectrest ontheflatsurface. Ofa_table,thevase

andblocksaretreated_{monochromatically}to givetheappearance of sameness and

coherent unity. Thisisa conceptual dimensionthroughwhichMorandiinvestigatesthe

contoursoflineand space.

3.1 _Mythesisexhibition

Figure 5. Untitled,40x34_inches,2005

In mythesis work,I tookas subject ofthebook. Thissubject constitutes significant

meaning in myartistic _{work,representing} both figurativeand abstract explorations. I

attempttovisualize and relate theworldaround me through thebook. Itis formethe

meanstoevoke emotionsin_my work. Priorto_{creating my}thesisexhibition New

Readings, Ithoughtof whatdirectionI shouldtakeforthe show, what aesthetic

possibilities couldbe_illuminated,and whatthework might suggest. Iwantedto express

the_ambiguity thatexistsin_realityandinphotographic representationbetweenthe

imaginary andthefactual. To create_{my subject,} Ipaintedonbooksthatwerefamiliarto

me. Iusedsubtle colors andilluminationtoproduce moods or sensations of_beauty,

ambiguity, andtocreatetension. Asa modernisticaspect, Iemployedessential elements

of_{color, shape,} andformtodescribeminimal andformal display. Asa postmodern

aspect, Iattemptedtocreatetheatrical effectsina spectacle ofpresentationand

perception, as well as an_ambiguityof vision. Coloralsoemphasizes anillusionof

two-dimensionalspace thesurface ofthephotographicimage. Coloris a majorimpetusin

mywork.Itsets a_{distinctivetoneand supports}

mypsychological intent for mywork.

Ichosetousebooks as_mysubject matterbecause_theyarefilledwithgreat

meaning. _{Physically,theyare containers ofhuman knowledgeand wisdom.}

Psychologically,theyconveyaspirations and_{enlightenment,}thepossibilitiesofthe

written word. Thebook hassubtle elementstodemonstrate_{my capacity fordiscovering}

immense_complexitywithin self-imposedlimitationsof_mypractice.The bookcanbe

definedas _{shapes, color,}volume andtextureinvisualrepresentation. _However, in my

work, thebooksuggests much more._Bypaintingon_books, Ichangedtheiridentity. _They

nolongerservetheir_{primary function}toberead.Thebookis an_ordinaryobjectthat

everybodyhas experience_with,duetoitseducationaluse. Inschool,peoplehave badand

good memories ofbooks. Weusedthemonan_everydaybasis like_listeningtomusic. In

mywork,itwas importantto takea commonplace objectlikeabookand makeit

unfamiliarand extraordinary.Thebookbecamea significanttoolforme as a pictorial

metaphorofthe_beauty ofthewrittenword containedbetweenthebook'scover. _By

meditating on abook'sform and_surface, Iattemptedtocreate avisuallanguage of

calmness, guietude andcontemplation.Inthese_images, Isoughttounderstandthe

Figure6.Untitled,30x36.6 inches,2005

Figure7.Untitled,30x36.9inches,2005

physical nature ofthebookandthepsychological meaningsitmight_conveywhenits

identity

Creating

createbothphysical andpsychological symbolsina morethangeneral_{understanding}of

whatthebookmeans.

Usingtheatrical_lighting,Icreated adarkmoodtoexpress an ominousenvironment.

Inthis_{environment, I} also wantedtosuggesta surrealpresencewithmysteriousand

dreamlikeeffects.

Iuseddigital outputtorealize_{my final}printsbecause itcreated an"inkon

paper"

effect,asthatfoundintraditionalprintmaking.Thedevelopmentofdigital_technology

hasmadeitpossibleformetopushthelimitsof_myphotographic work Iprinted_my

images biggerthanlifesize.Withlarge_bigprints(40x36.4_inches),Iwasableto

transform the subjectof_mystill_{life,further emphasizing}thebook'schanged_identityand

function. Coloralsobecomesexaggerated. Incontrast, thesmallprint gives a sense of

intimacy,butcan alsoshowlittle detail ofthe artwork.I wantedtoexploitdetailthrough

size,as well astheinkon papersurface of_{mywork, to}a moreaesthetic effect.

Using4x5 and6x7 cameraformatstoheightenperception,perspectiveandtwo

dimensionalplane, Isought _simple,abstract spatial arrangements.

Inaddition,I findmyself attractedto_{incorporating}aestheticelements of stillnessin

mywork. "It'snot_havingwhatyou_want, it's wantingwhat you've

got."

isaZen saying

thathasgreatly influencedme. Theseaesthetic elementsarerealizedinsignificant

compositions, balancingcolor,backgroundandlighting,thephysicalandthe

psychologicalin mythesiswork.

3.2 Graduate experience

Iwasinanairplane

leaving

family

whenIthoughtof whatIneeded as an artist and whereIwantedtogo with_mywork I

wasbothserious andfrightened_bythefuture. I oncetold_mywifethat_goingtoRIT

mightbean_opportunitytochange_mylifeas animage-maker.Ihadbeen acommercial

photographer. _However,IrealizedthatI needed more_studyinorderto_{hone mybody}of

work,becausefirst, Ineededtoexplore new artistic_territories; secondly,photography

was_changing so_quickly,themedium required moreknowledgeand_{expertise;thirdly,}I

had manyideas,butIdidn't knowhowto_bringthem tofruition. Ineeded someoneto

point out whenIwas_pursuinga_worthyartisticpath.

Cravingformore studiesinartandphotography,Ithought thatRITwouldbethe

perfect placeto_developmytalentsandtobecomefamiliarwith all aspectsof

photography.RIT students receiveindividualattention and_direction, andthus the school

would_helpme toproducetheprofessional resultsthatIwanted. Ihave learnedto

enhance_{my imagination from}variousprofessors,experiments, andbooks. That isthe

primary currencyoftheartist.Itwas goodformetocome_upwithideasthatopenedthe

worldtonewpossibilities.Ihave cometoknowthatIneedthefreedomto explore andto

riskfailure. _AttendingRITwasthenextimportant stepto _achievingmygoals.

Itook_manyclassesrelatedto_mywork_includingthe_photographycore,_history&

aesthetic_photography, anddigitaloutput, etc. Iwas_increasinglyexcited aboutthenew

artworldI hadentered,and_learningthenew_{communicating} skills soImightbetter

articulate_{my ideas.} By_meeting excellentprofessors whoarebreakingnew artistic

ground, Iwas abletoexplore and

develop

learning

abilitytointegratenew methods and_techniques, althoughI haven'tyet startedteaching.

Iam_{changing, growing,}and_strugglingtorealizenewknowledge and

understanding inmyimage-making. Ioftenfeelacompulsiveneedto do_photography

because it isthe_{only way I} knowto communicate_my ideasand_my worldview.

-Stilllife I

I continued_my interest inthegenre ofthe stilllifetoexpress myself andto

practice_mytalentsinphotography. ThisisasubjectIhave pursuedforthe last fiveyears.

For_{me, the}still liferesonateswith similarcompositional challengesandexpressive

nuances orfound inabstractpaintings, _includingthose ofPaul _{Cezanne,Wassily}

Kandinsky, Salvador_Dali, and Giorgio Morandi.

Figure 8. Untitled 40x37.6inches,2003

Myfirstcreative processisto takea_single, simple objectthatis familiarandto

makeitunfamiliaror newtotheimagination

by

painted as a_{background.I thenphotographthisstill}

life,often_searchingforthe

mysterious effects ofillusionorabstraction.

Striving

simplifiedformandlinesthatare_direct,while_{complementing}harmonious colorsI

employ._{Non-essential,decorativeelements are eliminatedforadirect, expressive}

simplicityofthecomposition.

Itried tocreate still life imagesthatbridgethe_gapbetweenstrict realism and

complete abstraction.As farasIhave_experienced,thestilllifeisakindof manner of

visualinterpretationthatspeaksnot_onlyto thebeautifulbutto_{reality in}therenderings of

static objects.

-Portraits

Ireceivedinspiration fromthe _{contemporary German}artistKatharina_Fritsch,

whose workI saw attheAlbright-Knox Art_Galleryin_Buffalo,NY,in anexhibition

called_Bodily Space: New Obsessions in FigurativeSculpture._Usingskeleton and

sculpturesin her_{installations,} shegives attentionto simple_{outlines, color, scale,} and

space_creatinga strangetensionbetweenthefamiliarandtheuncanny.Theseelements

playa roleinthe transformationofherobjects andthespaceinwhich_theyhave been

installed. Iwas _veryimpressed_byher_work,andI became interestedin

incorporating

sculpturalelements_{in my}

developing

As acomplementto_mystill lifework, I beganto exploreportraiture andthe

importanceofsculptural_form, likethehuman figure. _Mybasicconceptwastheideaof

howa portrait creates a personal _narrative, basedontheselfinthis _bodyofwork. I

wantedtoexplore and_trytoreinterpretthehuman figureintheuse ofaskeleton.

Mybasicconcept was todepict"portraits"

involvingvariousforms ofnarrative

strategies. AsinUntitled (figure_{9), 2004,} the_primarysubject ofthe skeletonconjures _up

subjective, metaphorical qualities. Itcanappear as ametaphor of obsessive personal

attitudes and a negative prospective.Itcan also express anambiguous_realitythatexists

betweenthe

imaginary

becameobsessedwith_my subject andbeganto addressaspects of_{myself,includingfear,}

responsibilityand self-conscious nature. Forthefirst_time, in_{this work,}Ifoundmyself

reinterpreting and_redefiningwhoI amandwhatIdo as a_workingartist.

Figure 9. Untitled. 1 lx 56.7inches,2004

Insupport of_mywork, Idrew inspiration from

Fritsch'

sinstallationsand art

historybooks, especiallythose thatillustratedsculpturalfigures fromtheMedievalArt.

Also, Iwasinterested in_furtheringmyexploration ofPostmodernideassuch as

subjectivity, fragmentary,andthe arbitrary. These diverseelements ofthepast and

presenthelpedtoguide_mywork, which employedbothcolor,blackand_white,andthe

overall_anxietythatappears_{throughout. My}compositionsweretakenbothoutdoor and

indoor.

Using

"portraits"

deal with

anxietyandobsession. Atthe timeofthe series_making,I was_strugglingto knowwhat

myuniqueapproach inart would_be, whatdirection itwouldtake.Theseportraits

provided me withthe_opportunityto bemore personalin_mywork, toexplore_my

frustrationwith

finding

I furthered_my interestinportraiture in mynext_bodyofworkinwhichI

abandonedtheskeletonforan actualhumanmodel. Imet_mysubject on a streetinthe

cityofRochester. I looked foraperson whodisplayedan averagelookthatI could

manipulate and_{transform,working} withinastudio_setting thatallowed metodeviseand

controlthescene. I asked_mymodeltodo poses,whichIhadcreatedin mymind.

i

if

*

f

i

FigurelO.Untitled,2005

Intheseries offivelargecolorphotographs(figure _10), Icreated a sequence offigurative

portraitsthatutilized certainformsof poseandnarrative strategies. I show a_youngadult

embracinghimself. When Itook these pictures,my subjectwas_{very shy}andfearful. He

didn'topenhismouthtospeak at all. It was asif hecouldn't adapttohis_{setting, to}meor

thecamera.Atthat_time,I wondered whatmade himreactinthisway.I wantedtocreate

a_relationshipwith_{my subject,}

usingcertainforms of ourinteraction inthestudioto

present a story.WhenI tooka_{photographyworkshop}classwith_Professor,Angela_Kelly

at_RIT, shesuggestedthat theparts ofthehuman

body

the

body

variousforms ofthefigurerepresented a personal_history,basedon anobsessionand

anxiety inmymind. Atthat_time,Icouldn'tfindtheright solutionfor_myworkandIwas

struggling about whatIneededin mywork.Ispent alotoftime_readingvariousarticles,

relatedto the ideasof_{postmodernism, instead}of_{takingpictures,including hyperreality}

ofJean_Baudrillard,theideasofFredric_Jameson,who usedbothpsychoanalysis and

Maxismtointerprethis_project,and_photography and postmodernism ofAbigail

Solomon-Godeau,toname afew.

Iwantedtoexpress an abstract portraitbasedon symbolic poses ofthebody.

When Ilookedathiseyeson_{the street,}he hada certainfearofsomething.Icould not

stopthinkingof whatIsaw inthatperson. Ididn'tspeak ofit_immediatelybutheldthat

presenceto_{my heart. And it}couldbe_myanxieties anddesirethat transcendedintothe

images. _Usingthe model,Iwantedtoexpress_{my anxiety}anddesirethroughhim inan

efforttoget at_somethingmorerealthan theaccuratedepictionof a subject. Isoughtto

collapsethebarriers between subject and_object, formandcontent, selfand_{other, the}

viewer andthework.I inserted myown_thinking,myown_{interpretation,}and_making

associations. Thesubjectisnolonger himself but my interpretationof aform.

- Still life II

Influenced

by

paintings, Ireturnedtobooks asthesubject matterfor_mythesisexhibition.Iwas

intrigued

by

uncannyand mysterious intheirintense deliberationof object and space. Ialsowantedto

workin_{this manner, to}achieve_{painterlyeffects,} andtocombinerealism andabstraction

throughfactand symbol.

Mywork attemptstodepictstilllifesthatareillusionsofcolor onatwo

dimensionalsurface.Iaminterestednot_{only in}thearrangement ofbooksbutalsointhe

space createdbetweenthemand aroundthem.In thiswork,Iwantedtoexpressthe

ambiguous_realitythatexists somewhere betweenthe_imaginaryandfactual form. I

painted ontheobjectsthatwerefamiliar_{to me,especiallybooks,}again_changingtheir

identityas objects ofthewrittenwordandtheirfunction intheworld.Color helps

emphasizeanillusionoftwo-dimensional spaceratherthana_{three-dimensional,}

perspectival view. _Usingbrightand saturatedcolorsinapsychological_waynot_only

conveysillusion butemotion aswell. Here Iwanted tocreate playful compositions of

beauty. Spaceisalso_{particularlyimportant,}with negativespace_representingabsence

andbooks_representingpresence._Myworkhasbeenconsidered_bythosewhoseeitas

having atheatricalexpression._Perhaps, thisis because Iwas influenced_bya_varietyof

diversemovies andthelightingsonEuropeanstilllifepaintingsof16 and 17 centuries.

In large color_printings,I seektoknowtheinnerorigins ofthoughtand space and am

fascinated_bytheconceptthatallform isbornofthoughtandthatthoughtreturnsto

create newforms.

-Figurel1.Untiled,24x29.9_inches, 2005.

Figuurel2._Untitled,24x29.4inches, 2005.

Figurel3.Untitled,24x29inches,

2005.

Iwantedto_trytoexplore newdirections invisual_{culture,painting}onthebooks

thatare suchapart ofvisual culture. Thisisanimportantaspect ofbooks,_especially the

illustrated books_{in my}work suchastheconversationbetweenpaintedbooksand painted

backdrops asa conversationbetweenwhatthebooks were and what_theyare_now,having

beenchangedforpictorial effect. PerhapswhatismoretheatricalisthatIworkasa

director,settingthe scene, locatingthe _{books,painting both books}andbackdrop.Asa

director,I havecompletecontrolfrom set-up, composition,andtothefinalpoint.

- Minimalism

Another influenceupon_mythesisworkwastheartmovement ofMinimalism. I

was_{particularly intrigued}withthe treatmentofformin Minimalism. _{Byeliminating}

decorationand_{embellishment,}formwascreated_{simplyby emphasizing}theessential

formal aspects ofshape, silhouette,contourandcolor. Iresearchedwork_by Minimal

artists, including Richard Serra(1939- ), Donald Judd (1928-1994),TonySmith(1912-1980),

Carl Andre

(1935-),andRobert Morris(1931- _{).Throughtheir work,}I sawhow_they

created

highly

characterof objects inthe_world,human perception offormandspace, and reception of

anaudiencetoa newkindof object making.

Figurel4. Untitled, 16x22.4 inches.

Figurel6. Untiled, 1 1x13.7inches,

2005.

1

1

1

1

I

Figurel5._Untitled, 16x23 _inches,2005

Figurel7.Untitled, 1 1x13.2 inches. 900S

Kenneth Baker's_Minimalism, theartmovementisdefinedas:

"asa movementinthe 1950sandcontinuedthrough the

Sixtiesand_Seventies. Itis _generallyatermusedto

describepaintings and sculpturethatthriveon_simplicity

inbothcontentandform.The aim ofMinimalismistoallow

theviewertoexperiencethework more intenselywithout

thedistractionsof complicatedcomposition, themeand so on". ₄₎

In figure 14 through _17, aspects ofMinimalismthatIadaptedwerethe_simplicityofform

and_content,noembellishmentand no_decoration,lightand color and_reducingcomplex

meaningofthesubject. Open_lightinggives_purityand calmnessto thephotographs

insteadof adarkmood. Infigure 14 and _15,1attemptedtodepict_lines, shapes,bright

colors and shallow_spaces,movement and rhythm ofthecolor_{placement, two}dimension

withgradation of_shadow, straightoneyelevelof view._Primarycolorsleadto the

objects.Infigure _16, there areverticalandhorizontal _contrast,solidandthesoft powder

contrast; veryopentoallviewersandsimple withfine detail. In figure _17, thereare

dimensionalrocks_floating abovethebackgroundand_usingtheblueand yellow powder

ontherocks and_background,Icontemplatedinauniversal worldofZen.

4.1 The_tabletop

Figurel8,untitled, 30x36.5inches,2005

In my studio, the_tabletopconstitutes a small world on whichtocreate_mystilllife

scenes, basedonthereal andthe imaginary. Likestill lifeartistsbefore_{me, my}work

reflects whatis _{in my}mind and whatis intheworld. _Thus, thereare twowaysinwhichI

workwith a still life: ₁₎ toconstruct a scene inwhich_realityisreferredthrough the useof

familiarobjects, and₂₎to critiquethis_worldlyreferent_{by interjecting}the

out-of-the-ordinary, theimaginary, suggestingtheunreal. The_{tabletop setting}of_my worknot_only

allows a great amountof_control,butalso enables metobemore versatile with_my

subject. The_tabletopcanbechangedinto_{anything, anytime,}and _anywaythatIwant.To

do_my work more_efficiently,I havea_tabletop set_upinthebasementof_myapartment. I

gather_mysubjectsfromaround_me-books, some_toys, figurines,_sculptures, etc. simple

andfunctionedobjects thatwhenplaced onthe_tabletoptakeon a new aesthetic reality.

To emphasizethisnew_realityor_identityas aesthetic objectsina_newlydefinedaesthetic

spaceofthe_tabletop, Ipaint ontheobjects. Infigure 18,1chosea greenish colortomake

an_illusionof_anonymity onthe_background andthebook'ssurface with_light, andthe

color_reflectingwith lightgives anunnaturalisticimage.

-Background

Figure _{19, Untitled,}30x37.5 _inches,2005

In regardingstill life_images,itisapparentthebackground isanimportantand

integralpart ofthecompositional work. _Workingin my _studio,I spent alotoftime

preparingthebackgroundtostand as a great elementin supporting myuse oflight and

arrangements of objects.Itbecomesthe_backdrop,thestage againstwhich_my objects

asserttheirpresence.I considered_{the color, the}depthof_tone, andhowthelight interacts

withthebackgroundsurfacethatispainted.

Althoughtherearevariousmaterialsforthebackgroundsuch as_{canvas, paper,}

and_fabrics, insome worksI choosetousethepagesfrom books I read and attachedthem

onboardsand_{wood, then}paintedonthem_usingpastel and oil colors. Thebackground

for

building

or

focusing

The camera was positioned at a straight onlevel, a

little abovethe_tabletoplevel

looking

lighting

background, for it isthemeansfor_adjustingthe toneandtextureforthe objectsinthe

still life.

-Lighting

Figure20, Untitled,30x36.8 _inches,2005

Rendering illumination isa_verycritical elementto supportthemainobjects of

my stilllife.Itrequires not_onlyknowledgeofnatural andartificial _light,butalso

patience! Tocreate effective_light,I used a_{reflecting board}to solvetheproblem ofbright

highlightsand_deepshadows. Thiscanbeseeninthework"Untitled21"inwhichlight is

natural. _Shiftingthelightcan make a_varietyof changesinthe appearance of objects such

as contrasttoreveal atextural surface. Ithelpsalsotoenhancehowtheobjectshave been

painted andthuschanged.

Having

mood and

feeling

in_mywork_determinesthecontrast andthesense ofdepth. Thecolorwiththe_playof

lightcreated a spatial _{illusion separating}thebooks frombackground. Althoughthe

meaningofthegreen coloris _{comfortable, clean,}and_clam, I created_{muddy images}with

lighttomakedreamlike.I shouldrefertohowlightcreatesnot_only moodbutalsocolor.

Themood of_mysterymade_bythedark_lightingandthe color contributesto thedream

feel. The saturationofcolor makesthe imagesrich anddrawsyoureyeto_{it. So watching}

the_{lightingcarefully} hasa greateffect onthewhole concept ofthephotograph.

- Objects

Figure21,Untitled,30x35.9inches,2005

Books chosenforthestilllife arrangement canbeusedto make a composition

that appealsto theeye orto tella_storyorto illustratetheme._{In my} useof_books, I sought

toreducetheir_{literalnessandtransformthemintosymbolic ormetaphoricalobjects}

through painting, light,and_{compositional}arrangement. I alwaysthought ofhowtorelate

toonepaintedobjecttoanother._Then,to the_background, lightbecamethe_unifying

factorthatinformedbothobject andbackground.Ialso make an effortto create akindof

tensionwithinthe

interplay

helpedto _{create a more symbolic stancein my}

work, basedonpsychologicalemotions

andfeelings. Ihadspent alotoftime_arrangingmycompositions as a major aspectof_my

professional output. Ilike_{working slowly,}

building

composition oflightand object untilIfind a combinationthatelicits an emotional

response.

As Iworked on_mythesis_images,conceptsdrawn from Eastern Asianart

informed_myminimalistic arrangements andtheuse oflightand color.Theseconcepts

include_creatinga meditative_emptyspace; eliminate almost_myreferenceto theoutside

world_{bypainting my}objects. In mystill _life,Iwantedtocreate_simple,directformsthat

causeda viewer_{(includingmyself) tostop}andlook contemplativelyontheessential

building

character ofpersonalandintellectualexploration.

-Color

Color is apowerfultool that_{has many}uses in mywork.It canbeused

psychologicallyto drawattention, createa_mood,andenhance_{clarity in}thework.

When IstartedtousecolorIdidn't knowmuch aboutitbecause I'veneverstudiedits

Figure_{22, Untitled,}30x36.2 _inches,2005.

attributes basedon_qualityoflightandhumanperception. Before Iwasinterested instill

life_photographyto learnmore about_{color,I mainly}worked_{photographing}portraiture

andlandscape. Sotolearnmore about_color,Istarted_studyingpaintings of allkinds in

museums, galleries, and a_variety ofbooks. Itried torecognize and relatetheuse of

colorsinimagesI saw. I usuallylooked at paintings ofPost_{Impressionism,}Abstract

Expressionism, PopArtandMinimalism._{Concurrently,} Iwas_decidinghow I would

choosethecolorsfor_my still_{lifes, my}paintforthebooksandthe background. Irealized

that_choosingtherightcoloris_{veryimportant, especially in how my}painted surface

wouldinteract.Inaddition, the selectionoflightsource, thelighttransitionalspaces

between_myobjects, andtheeffects oflightonlocalcolor andcastshadowbothinformed

andimpactedtheoverallcolorof_mycompositions. ThevariouscolorsI usein mywork

tocreate illusionare_very significantin_{understandingmy}work. Itcanberepresentedina

symbolic, ambiguous,perceptive,and_visionarymean. Contrastsofcolor and

lighting

betweenbackgroundandforeground mayhelptoprojectobjects. Ialso used colorto

make an_interactionthroughoutthe_image,tomake a connection withthebooks

-Digital_processforoutput

In_{contemporaryculture,}thedigitalrevolution wastriggered_bythe technological

developmentofthe_computer,informationandtelecommunicationindustry. The digital

broughtabout a wide_varietyof_{changes, especially}in fineart photography.And_I,for

one, was_greatlyinfluenced

by

In mygraduate and_{thesis work,}Iexploreddigital printing_processes,likeEpson

andLambdaprinting.Ilookedtocombinetraditionalanalog/darkroomtechniquewith

newdigitalpractices,includingcomputer_{software,scanning}and printing. Iwantedto

expandthecreativepotentialofthedigital intotherealm offineart_{photography in my}

work.Irealizedthatthedigitalprint allows a newkindofpictorial_{representation,by}

combining aspectsofthephotographicandthepost photographic._{Experimenting}with

thedigitalprintbecameavital creativeforcenot_{only in my}workbut inphotographic art

as a whole.Asanalternativeprocess,it introducesanew_creativity, anewtool to

photographerswhowish_{to explore,} in my_case, newink-on-paperprinttechnology. To

achievethefinalprintsfor my_{thesis show,}Iscannednegatives and positivesof_mystill

lifesanduploadedthem to Photoshop. Ithenoutputted_mynewdigitalimagesto the

7600, 7900, and 10000 Epson inkjetprinters.I learned quicklyaboutcolor management

andresolutiontoobtainprintsequalin qualitytoprints_usinganalog, fineart,and

traditionalmethods.Intheinkjetprint, Ifoundtextures, detailand contrastthatsupported

mysubject matterinabetterway.Unlike an_analogprint, theinkon paper process of

Figure23, Untitled, 30x30.5inches,2005

inkjet_printingrendered_mypictures _givingtextureof a_{painterlyfeeling}morethana

factualphotograph. Becauseof_{this, my}thesisworkexhibited anewkindof aesthetic

qualitytied to traditionalprintmaking. Ifoundthat thisapproachemphasizedtheabstract

character and_{individuality}of_my work.Itdidnotheightenthephotographic

"real,"

but

instead spoketo theartist's_(my)interaction inthepicture andto thehandmadeprint. In

this way, Ibroughtmore ofmyselfinto_my stilllifeprints.

Workingon_mythesis show,IrealizedthatIneeded to findout a new_meaning

for_photographyasanartform ina newdigitalworld. In mystudies, Ilearnedthat the

digitalremediates _{the analog,} itemphasized_immediacy,thedesire forthe real, and

interactivity. It introducesanewpostphotographicera,inwhichthedigitaland_analog

arecombined, asin_my own work. _Myuseddigitalprocessand_printingtechnologies

speaktothisnewphotographicfrontier,andto _{my interest}increatingfineart imagesthat

areaboutboththe traditional andnew inphotography. In my future_work,Iwishto

furtherexplorethedigital innext stageofphotography'shistory.

Conclusion

In mygraduatestudy,Icastaside_mypast artistic concerns andbeliefs becauseI

wantedtoachieve a newdirection in myphotographic art._Seeingvarious art and

photographic_worlds,Ihave hada profound experience andhavetried tofollow_mynew

path. Ihavemet various photographers and_artists,and exploredtheir_{thoughts,feelings,} experiences and passions. _{I really}wantedtoknowthe aesthetics of_myown style sothatI

mightbeabetterartist._Everyday,Icreated stilllifesof_myown_vision,blurredportraits

tounderstandtheelements of_{Pictorialism,}and self portraitstocomprehendtheideasof

Postmodernism. Butwhatisnextforme?Idonotthinkmuch aboutit but Iwouldliketo

combine alltheelementsthatIhave learned_{in my}graduate_{work, to}achieve greater

artisticinsights. Ioftenthink thatart remains significanttohumanbeings andIam

attractedto theideathat now,anythingcanbeart.As Lyle Rexlerwrote, inOnlySkin

Deep: "Iam not sure photographs canteachus_anythingwedonot_alreadyknow,but

theycaninviteustoconnect andthatis how_theychangethe

world." 5)

Endnote

1. BrainWallis. "What wrongwith thisPicture?AnIntroduction",ArtAfter

Modernism: _{Rethinking Representation,}New Museumof_Contemporaryart

Boston: D. R. Godine, 1984,P.xii

2. http://www.arts-studio.com/cezanne.

3. http://www.museomorandi.it.Interview fortheVoiceof_America,

25th

April 1957.

4. _{Baker, Kenneth,}Minimalism:Art Of Circumstance/ Kenneth Baker

1946-. New York:AbbevillePress, 1988,P.32. 5. LyleRexer,"0(ySkinDeep

"

Arton_{Paper, March/April, 2004,}P.63.

SELECTEDBIBLIOGRAPHY

Baker,

Kenneth,

Benjamin, Walter. "The WorkofArtintheAgeofMechanical

Reproduction,"

Illuminations,

World, 1968.

Brian Wallis. "What's_WrongWith This Picture? AnIntroduction,"

from Art After

Modernism, 1984

Guse_{Ernst-Gerhard,} ed.,GiorgioMorandi :Paintings, Watercolours, Drawings,

Etchings;New York: _Prestel, 1999.

Kahr,Madlyln Millner. Dutch_PaintinginSeventeen Century. New York :Icon

Editions, 1993.

Lorenz_Eitner,"AnOutline of

19th

CenturyEuropean_Paintingfrom Davidthrough

Cezanne" 1987.

San Francisco MuseumofModern_Art,"KatharinaFritch" 1996.

Edward_Ailing,Susanne_Bieber,Lowna_Blazwick, Bice CurigerandJulian_Heyen,

"KatharinaFritch,"Tate_Publishing,2001.

Skira, Pierre, Still Life: A_History/Pierre Skira,

New York :_Rizzoli, 1989.

The MuseumofMordern Art. Object ofDesire: The ModernStilllife.New York: The

MuseumofModern_Art, 1997.

TheNature Of Still Life :From Manet To The Present Day. Milano :_Electa, 2001.

Tomas_Weski, Heinz_Liesbrock, "How You Look At Itphotographsof

20th

century".

New York: D.A.P/Distributed Art Publishers. 2000.