Jacqueline Butler: “Glass and Paper Landscapes evolved from a study of the collection of negatives and prints of the photographer and author Charles Dodgson (Lewis Carroll) held in the Insight Photographic Archive at the National Media Museum, in Bradford.The series created include digital photographic prints and video work.”
“Farassat embroiders her photographic portraits with sequins, Swarovski crystals, or threads. Her time intensive photo-needlework may seem anachronistic, but it touches and reflects upon important aspects regarding the perception of photographic images. Take the lighting control, for example: photographs screened off behind glass are exposed to multiple reflections and refractions while simultaneously sealing off the surface and preventing any immediate eye-contact with the underlying image. In her sequined rugs, Sissi Farassat attaches additional highlights onto the photographs as well, but also inserts a physical and haptic quality into the visual field. With their sparkle and the iridescent colors, her images are reminiscent of opulent chambers but also of the glitter of disco and film revues – which in return seems to contradicts the apparent «banality» or intimicy of her subject matters. Sissi Farassat often works with self-portraits, snapshots of family members and friends, but also with strangers or even found images. Thus the labor of embroidering a photograph, which can take days or weeks, is also an examination of a personal universe of images and relationships.” Source: http://www.bildhalle.ch
Alexandra Diaconur: “Through photography, I ‘erase’ and ‘redraw’ these landscapes in a performative act — my passing through— and by recording what is in my field of view. The different strokes, washes or tonalities of grey are given by the clash between light and darkness, by the various technologies used in public lighting or by signs of photo pollution. Sometimes, others are performing in or passing through these public spaces and their actions are equally recorded.
The working process resembles that of classic photography, nothing is constructed, nor manipulated. The images are only transformed from positives into negatives to increase visual acuity. Thus darkness becomes a white sheet of paper and the photographs are stripped of all unessential representational remnants of reality, of any geographical, topographical or historical meaning.
It is only through points and lines (the latter called by Kandinsky ‘destruction of points through external forces’) and their relationship with the plane’s surface that a sense of familiarity with these abstractions of spaces is conveyed. The viewer may recognise them partly from visual memories of photographs, drawings or paintings of landscapes already seen.”