┐ Will Jennings └

© Will Jennings, Untitled, from the series Tumbling Blocks, 2011

“As an intuitive response to the sudden death of my mother last summer I walked down the Suffolk coast, reconsidering the landscape of my childhood through the eyes of an adult, mourner and artist.

Concrete cubes sporadically emerged along the route, sole man-made interjections in a landscape of permanent flux. As I walked through fog they offered perspective, their staccato rhythm implied passing time, their angular form suggested a grid and attempted rationalisation of chaotic, uncontrollable nature.

I read the cubes as monolithic stelae. Blank vessels into which I store memories, emotions and idea – vessels as fallible as both body and mind, also falling prey to the forces of nature and time.” Will‘s statement

more of Will’s work here

┐ Barbara Hammer └

When I was seven, when I was sixty-seven, my desire was the same. All I wanted was a horse in my backyard. I truly believed as a youngster that I would wake up one morning on my birthday and find a horse tethered, eating lawn grass and waiting for me. The surprising thing is that I still look. Perhaps it is my naiveté but more likely it is a persistent sense of hope that keeps this dream alive. This same ability to hope and dream kept me alive throughout the rigorous four and a half months of chemotherapy even though half of that time was spent in bed. As I built my muscles back day by day by taking longer and longer walks and hikes, I knew I was preparing for the day when I could swing my legs into the saddle, pat my horse on the neck, and ask her to carry me onto the beckoning trail.
When I was undergoing extensive chemotherapy, the recommended procedure for ovarian cancer, I never thought I could or would want to make another film. Still, I was not adverse to my loving partner of 20 years taking stills and videotaping my progression. When a San Francisco friend and filmmaker flew out to take me to the country for a week of retreat, I was not adverse to her shooting my bald head and skinny body as I swam in a Catskill creek. Eventually from my own hospital bed I did use my camera to film the huge bags of chemicals dripping into me, the nurse attending, and my own steroid-swollen face. Throughout the hospital time, I used horse images as meditation to take me out of the confines of the hospital room and to a landscape that knew no boundaries.

full statement here

Barbara’s web home here

║ Melanie Bonajo ║

© Melanie Bonajo, Waiting for something beautiful to happen, 2002

© Melanie Bonajo, Are all cliches true o3, 2007

“My ideas are jingles in my head, they come to me. To be able to make a song i have to give stucture to the melodies, like i have to put the thoughts and idea’s into matter to be able to impart the information and touch someone like it touched me first.
My work is an irregular impulse of experiences and aesthetic enjoyments stemming from the questions I have and the things that I know. I am not interested in a particular truth or a common reality, but I do have to understand and embody my truth, which I find from looking within. Although these things might be universal, consequently, questioning myself leads to the act of questioning you. Nothing should control the spirit.
My method of practice, making photographs, is simply a way of recording these thoughts. Primary to this visual diary is the notion of breaking free from everything that holds one down, such as: emotions, patterns, motions and
I attempt to shape awareness by giving expression to the contradictions of contemporary life -with dignity. Re-contextualising and reframing the world through my lens, I attempt to leave a feeling of something beautiful, unexpected, unfamiliar or inexplicable. I create wonder with vengeance about the true nature of things, from my point of view. This outcome – art – must hit someone with its mental and emotional power so you can feel what you see. You can not turn your head away. I believe our language has to be physical in order to touch someone. After any word or image which is a collection of many words hids energy.
Holding your gaze upon my photographs is an invitation to play. Confrontation can be liberating but it can also be bizarre. Melancholy and humor are important aspects for me. It might hurt a little, too.”
Melanie Bonajo

║ Sofia Silva ║

© Sofia Silva, The furniture’s too heavy, 2008, from the series Loosing Track

© Sofia Silva, Today, Tomorrow, The Day After, 2008, from the series Loosing Track

Work in Progress
To see more of Sofia’s work click here

║ Sarah Sudhoff ║

© Sarah Sudhoff, Clean 2, from the series Repository

© Sarah Sudhoff, Fallopian Tube, from the series Repository
© Sarah Sudhoff, Exploratory Surgery, from the series Repository

“I examine the body within a medical context by exploring through photography, video and performance four main themes: pathological waste; containment of the body and its parts; fragmentation and violence against the body; a subject’s relationship to a specific environment.
Following my surgery in 2004 for cervical cancer, I began to photograph, film and perform in hospitals, morgues, medical museums and my doctors’ offices. The photographic and film works focus attention on the physical and often emotional traces cancer and surgery can leave on the body while challenging the prescribed treatment for recovery and role of the patient.
Through self-portraiture and self-performance, private rituals are revealed to the public only through documentation. Personal experiences are intertwined with unfamiliar environments thus creating a new environment for the viewer through their experience in the space. Seen as a whole, the works engage the viewer through the repetition of enviornments, movements, sounds and visuals. The same character’s presence in many of the works allows for an introspective look at these, in some cases unfamiliar worlds in comparison to one another.
The combination of images and videos and the juxtaposition of these varied works is intended to be overwhelming for the viewer. The repetition of spaces, procedures and a central character highlights and reshapes our thoughts on medical environments, the treatment of our bodies in these spaces, what role we have at protecting our bodies and the lengths we will go to achieve a sense of health. While the journey stems from a personal bout with cancer, I hope to resonate with each viewer as they participate in the space and reflect on the work.”
Sarah Sudhoff

More of this work can be seen here

║ Sunil Gupta ║

© Sunil Gupta, Pentamedine / Attitude, from the series From Here to Eternity, 1999

© Sunil Gupta, Chicago / Hoist, from the series From Here to Eternity, 1999

“I made this work partly in response to a period of illness brought on by the HIV. I thought that it might be time to thinks about how the virus affects my life…”
Sunil Gupta

To view more of Sunil’s work click here.

║ Lisa Lindvay ║

© Lisa Lindvay, Bottles under bed

© Lisa Lindvay, Game Room

“These photographs depict the lives of my father, sister and two brothers, as they take on the burden of my mother’s deteriorating mental state. This work represents an extended look at the physical and emotional currents within their home to question the sanctity of family life and domestic comfort.”
Lisa Lindvay

To vie more of Lisa’s work click here.

║ Bradly Dever Treadaway ║

© Bradly Treadaway, Sick

© Bradly Treadaway, Sick (performance)

© Bradly Treadaway, Sick (detail)

Sick addresses my continuing struggle with cigarette addiction. For almost ten years I have been an on-again off-again smoker, never really considering myself addicted. However in the last year or so my classification as a smoker has been more difficult to define. I find myself smoking more and having less control over the urge.[…]
The photographs form a sequence engaging the urge and repetition of smoking, the very quick and thoughtless process of filling an ashtray and the loss of control while doing so. Making these photographs was a painful experience. Dragging multiple cigarettes back to back as hard as I could to emphasize the smoke was nauseating and exhausting. The process dried my eyes out and made my lungs and throat sore and constricted. Amazingly, I continue to smoke.”

“180 Degrees is a body of work that deals with identity and change. In almost every sense of the word the work represents a fundamental shift from my typical approach to photography. In terms of media, content, motivation, influence and aesthetic, my priorities and intentions have evolved. 180 Degrees analyzes my routines, habits and perceptions. Times past are reflected upon and memorialized. Image and identity are called into question; neuroses, insecurities and imperfections are put on the table for examination. Opinions are shared and supported. Self-expectations are illustrated and however uncomfortable, unfair or distorted, are open for observation.”
Bradly Treadaway

To know more about Bradly’s work click here
To access his Master Thesis about the “180 Degrees” Project click here

║ Matthew Shain (Chicago Project – part III) ║

© Matthew Shain, Miscellaneous Debris, 2005

© Matthew Shain, Father/Son I, 2005

“Identity, relationships, distance, reflection, elegy, and humor are some of the themes in my work. I began thinking of these ideas while photographing my father for a project designed to portray our relationship, or rather, the implied distance on which it hinges. I realized that this space I was representing is a part of all relationships including our relationship with images. It is the distance of preservation and presentation. In other words, how the subject preserves him or herself in the artist’s presentation of the piece to a viewer and how the viewer reads the artwork.”
Matt Shain

To know more about Matthew Shain’s work click here

║ Jennifer Loshaw – In My Skin ║

© Jennifer Loshaw

“Throughout history, the desire for beauty has been used as a tool to help establish selfidentity. Through the drifting dreams of William Shakespeare to the concepts taught by the Dali Lama, we can see how society defines the self through a search for beauty. Since beauty cannot be positively defined, I find this to be a strange concept.
We create physical beauty believing it will identify us. Yet, our spirit makes up our identity. We cannot decorate this spirit; we cannot illuminate it in any other way then through personality and activity.
This exhibition is a response to the damage my body, the home of my spirit has suffered. The experience is one that most people will never understand; however, the subsequent feelings and the search for self-identity though the hunt for physical beauty may universally translated.
This series served as a healing tool for issues I have faced due to the changing condition of my burn scars. Making self-portraits became a powerful “therapeutic” outlet as I revisited my medical history. The process gave me an understanding that the feelings I was experiencing (and photographing) were temporary. This became a very important step in my development. I grew stronger and more confident in the idea of exposing myself in this manner. Emotions are important. Expressing them in a healthy manner is vital. These images are a gift to those who need the guidance and courage to begin their own healing.”
Jennifer Loshaw