Two of my pieces were selected for the show:
 |
| Michelle Saffran "Peter 1972 #2" sewn photo-collage 37" x 39" 2015 |
 |
| Michelle Saffran "20960 Mada Street" sewn photo-collage 19" x 37" 2012 |
As we navigate the world
our senses become entwined with the physicality of each environment
we
pass through. The co-mingling of kinesthetic experience with the reality of a place become stored in
the mind and body as memory. Each experience of a place contains elements of the past, the present
and the future, all within the same instant. I am interested in the photographic image as a means for
collapsing and unifying discordant time and as a site for recollecting the experience of place, and
how that becomes as an element of personal identity.
pass through. The co-mingling of kinesthetic experience with the reality of a place become stored in
the mind and body as memory. Each experience of a place contains elements of the past, the present
and the future, all within the same instant. I am interested in the photographic image as a means for
collapsing and unifying discordant time and as a site for recollecting the experience of place, and
how that becomes as an element of personal identity.
Central to the work is
the necessity of altering the surface of the photographic print.
Primarily this
mark making has taken the form of thread on paper. The act of slicing, sewing and collaging
photographs into a new image allows for the telling of a narrative that may recall an experience but
represents it in a “not quite right” manner. An unsettling process that takes the familiar and throws it
to chance; an uncanny disturbance between what is real and what is imagined. The denigration of
the image takes a photograph of something known, an image that is traceable to a physical location,
and rebuilds it into an unfamiliar scene that offers an indexical relationship to the real.
mark making has taken the form of thread on paper. The act of slicing, sewing and collaging
photographs into a new image allows for the telling of a narrative that may recall an experience but
represents it in a “not quite right” manner. An unsettling process that takes the familiar and throws it
to chance; an uncanny disturbance between what is real and what is imagined. The denigration of
the image takes a photograph of something known, an image that is traceable to a physical location,
and rebuilds it into an unfamiliar scene that offers an indexical relationship to the real.
The source photographs
for “20969 Mada Street” and “Peter 1972 #2” are snapshots
that I took
when I was a child, the former being of my grandmother's house and the later being a portrait of
my brother.
when I was a child, the former being of my grandmother's house and the later being a portrait of
my brother.
Art of Place
January 17 6 - 9 opening reception with food, music and cash bar
January 18 11am moderated artist panel discussion
March 8 show closes
Chandler Center for the Arts
71 - 73 Main Street, Randolph, VT 05060
Office phone: 728-9878
Gallery Hours
Fridays 3 - 5
Fridays 3 - 5
Saturdays and Sundays 12 - 2
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