SFCC Photography Gallery

November 2011 - Katherine Rondina & Frank Hamrick

2011-11-02T11:02:00.000-07:00

The Spokane Falls Community College Photography Program is hosting a gallery exhibition titled “Lost and found” features hand made artist books by Frank Hamrick and Wet Plate Collodion prints by Katherine Rondina.

The exhibition highlights the “lost” art of handmade bookmaking and 19^th century Wet Plate photography and expands the visual lexicon beyond contemporary digital photography and highlights how new insights into the modern may be “found” in the intrinsic value of craftsmanship and physical artifacts.

September 2011 Erik Sohner

2011-09-14T08:00:00.000-07:00

Artist Statement

This series of images is meant to be a visual journey from minimalism to complexity in terms of narrative, set elements and intellectual depth. In my photography I take a very hands on, contemplative and conceptual approach to both composition and lighting. The photographs presented are a selection of digital capture still life images that were mostly created within the last six months of 2010. All of these images are illuminated utilizing a light painting technique.

Within this series of still life photographs I am attempting to explore my vision of the beauty, mystery and elegance that I find within everyday objects. These are mostly banal objects that tend to go largely unnoticed in our day-to-day visual experience. I have always been fascinated by light and how different applications can alter the visual presence of the subject being photographed.

Emphasis was placed on formal elements such as color, value, shape, texture, line and form. The objects and sets are constructed to depict simple scenes in which the object might be found or normally viewed. However, in these images the actual object is somewhat irrelevant; the relevance of the work emerges through my artistic temperament, the way that I see these objects, the way that I light them and bring them to life. My intent is to use both my lighting style and the element of color to connect with the viewer on a visual and emotional level.

In the broader, sense this work is reminiscent to Pictorialism in the fact that I am taking a subject and attempting through lighting to elevate the subject to something more visually powerful than it actually is. Through chiaroscuro and my lighting technique, I am attempting to increase the tonal range of the image beyond the perceived limits of the conventional materials from which they are produced. Thus, the objects themselves are a means to explore this extended luminescent quality and the lighting style itself essentially becomes the subject of the photographs.

I have an insatiable passion for the medium of photography. I draw inspiration from many sources including my deceased Grandfather who was a fine artist, my beautiful family and the people, places and things that surround me. I have always been fascinated by light and have spent a great deal of time studying theory and experimenting with different methods of manipulation and application. While I create many different types of images, I have strong interest in still life. This type of image affords me the time for deliberate contemplation of my subject matter while allowing me to explore the complexity of light and shadow and its relationship to the visual and emotional experience.

-Erik J. Sohner

October 2010: George deSaint-Rat

2010-10-15T09:47:00.000-07:00

George deSaint-Rat was born in France, at Chateau-Thierry, 40 miles from Paris. He was brought to America as a 5 year old. His first memory of America was seeing New York City from their ship. He says, “I couldn’t believe it...I was blown away…can you imagine coming from a little town in France and then seeing the lights of New York City at night, from the harbor? It was amazing!”

He has worked primarily as a photojournalist and editorial photographer for local non profit organizations. To gain an understanding of Georges’ photojournalism, one must look back to see the difference between what photojournalists produced ‘back in the day’ and what is produced currently.

Archetypal photojournalism of the day included Tri-X 35mm film, usually ‘pushed’ with processing, shots taken with available light under poor circumstances, and a raw, gritty feel to the end product. It wasn’t done to achieve a ‘look’. Many times it was the only way to get usable images for publication. The tools of today can imitate any ‘look’. What they can’t do is imitate the content. They can’t imitate ‘the decisive moment’, or the reality of ‘being there in the moment’ observing and recording with an artists’ sensibility the events of our time.

As a photojournalist, Georges’ work demonstrates this understanding. He wants to be right in the middle of his subjects, he closes in on them as he becomes engrossed in the process. He uses very wide angle lenses to get close to his subject matter; closer than many people feel comfortable about. After breaking through the invisible shell we each carry around us, he uses this proximity to provide an intimate touch to his photographic vision.

Current photojournalism is different. It has been changed from observational reportage to something resembling event photography.

His work is most influenced by Henri Cartier-Bresson, Andre Kertesz, and documentary photography done from the 1930s through the 1960s.

May 2010: Del Lusk

2010-05-05T11:38:00.000-07:00

Del Lusk began his photographic career in the 1960’s, working as a magazine and news photographer. Lusk made the switch to fine art and academics in the early 1970’s, obtaining a position in the Journalism and Photography Department at Lewis-Clark State College in Idaho. Concurrent with his teaching, he was able to cultivate and promote his personal work, exhibiting regularly in the Northwest. His photographs were awarded numerous accolades and exhibits during this period, adding to his accomplishments as a documentary and news photographer. A hiatus as a stockbroker interrupted Mr. Lusk’s creative pursuits in the 1980’s.

Currently, Del Lusk has once again found his muse via the camera. His most enchanting body of work is devoted to manikins. Reminiscent of Umbo (Otto Umbehr) and Max Yavno, the Manikins in Storage series evokes a time past and hints at the metaphysical, a reflection of human interaction using inanimate stand-ins. Equally lovely is Lusk’s landscape work, which reflects his interest in the history of civilization, photographing sacred spots in Rome, Sicily and Sardinia.

Del Lusk’s prints are 11 x 14 inch Toned Gelatin Silver Prints, priced at $500 and are available through STOOTS Fine Photography.

Artist Bio courtesy of:

January 2010: Christian Arrecis

2010-01-12T10:54:00.000-08:00

Setting the Planets Into Motion
2007
10" x 15"

The SFCC Photography Gallery is presenting the work of Chicago Artist Christian Arrecis. Christian received his MFA in 2008 and teaches at Northern Illinois University.

Artist Statement

Phaenomena Naturalis is a series of photographs through which I attempt to navigate and understand the natural world; it is an attempt at understanding some of life's universal and enduring questions. Light and shadow function on a symbolic level—the revelation of truth. Books and their time-worn pages, bits of text and images, and found objects all serve as a vehicl Phaenomena Naturalis is a series of photographs through which I attempt to navigate and understand the natural world; it is an attempt at understanding some of life's universal and enduring questions. Light and shadow function on a symbolic level—the revelation of truth. Books and their time-worn pages, bits of text and images, and found objects all serve as a vehicle to suggest a figurative voyage, that the mysteries of the world can be unlocked and revealed.

I am interested in an exploration of the world through referencing legend, through the intersection between science and magic and where superstition meets history. As such, an intimation of the arcane, the mythological and the mysterious informs these photographs.e to suggest a figurative voyage, that the mysteries of the world can be unlocked and revealed.

I am interested in an exploration of the world through referencing legend, through the intersection between science and magic and where superstition meets history. As such, an intimation of the arcane, the mythological and the mysterious informs these photographs.

To see more of Christian's work online visit: http://christianarrecis.com

November 2009: Jamie Tucker

2009-11-06T09:48:00.001-08:00

Jamie Tucker received her MFA in Photography from Indiana State University in 2006 and currently teaches at Northwest Nazarene University in Nampa Idaho.

About the Prints:

All prints are Silver Gelatin, hand printed by the photographer on Ilford fiber and resin coated papers. The images were taken with Diana and Holga cameras using Ilford and Arista films in May 2008 and were printed in 2008-09. Most of the images are single exposures but for a few Jamie has made multiple exposures while onlyt advancing the film part way which creates a dreamlike quality.

Artist Statement:

Initially drawn to the beauty and mystery of place, travel is many times a part of my photographic interest. In this series I have combined place with the telling of story through image. Chinglish combines place with portraiture.

The English and de la Paz families welcomed my camera into their lives as they taught English in Xian and Beijing, China.

China is a place full of movement, mystery and tradition.

I am drawn to and love the way plastic toy cameras record life. These images are dreamlike and mysterious. They are felt, rather than viewed. Detailed precision is absent, while fuzzy recollections of pugnant aromas, curious textures and aching emotions are present.

These images are a testament to the reality of these people and places.

March 2009: Melissa Rackham

2009-02-23T13:20:00.000-08:00

Melissa Rackham received her MFA from the University of Memphis and recently moved back to Spokane. During her undergrad coursework she studied photography with Shelly Murney at Eastern Washington University. This exhibit is a collage of images from recent portfolios that are woven together around the idea of place.

Melissa will be teaching a non credit photography course at SFCC during the Spring 2009 quarter. This course will focus on alternative process techniques such as cyano and van dyke brown as well as combining digital photography with historic processes.

January 2009: Rodger Hartman

2009-01-16T10:36:00.000-08:00

Faculty member Rodger Hartman is exhibiting a collection of his work along with images from his private collection including photographs by Christopher Burkett, George Lepp, and Jerry Uelsmann. Rodger has been teaching at SFCC for over 30 years and has a vast library of nature and landscape images.

He is currently working on a portfolio of Alaskan bear images that he will present later in the Spring.

October & November 2008: Ira Gardner

2008-10-16T10:11:00.000-07:00

Gornergrat Glacier, Zermatt Switzerland 20x20 Print 2008

Faculty member Ira Gardner is exhibiting for the first time here at SFCC a show entitled "Places I have known" which is a collection of landscape photos taken recently in Switzerland and the Canadian Rockies. Ira started mountain climbing in the Canadian Rockies 20 years ago and now enjoys leisurely hikes with his wife and son.

The images were all photographed on traditional black and white film, scanned and and manipulated for tonal values, and then printed back onto traditional black and white silver paper.

September 2008: R.L. Dietz

2008-10-08T12:02:00.001-07:00

R.L. Dietz is presenting a selection of new images from his project : "Uber-Wide Vision"

Pictured here is the home made camera and
and one R.L.'s circular prints. Note the size difference
between the 35mm roll of film and the yellow box of 5"x7" film

R.L. is exhibiting a collection of new landscape photographs. These circular photographs represent a full frame image taken on 5"x7" film with a camera he built himself. By combining a 50mm wide angle lens on a large sheet of film he is capturing all of the light that passes through the lens and in doing so is revealing the true nature of vision. Our eyes see a circle of light instead of the rectangular shapes we've grown accustomed to seeing in the photographic print.

R.L. reminds us how simple photography can be by building a home made light tight box and cutting out an opening for a lens. The scenes he captures may be familiar, but when presented in his wide angle circle format, we learn to appreciate the act of "seeing" all over again.

June 2008: Graduate Show

2008-06-13T12:14:00.001-07:00

Photo of Angie Azar by: Caroline Hunton

This year's graduating class includes:
Caroline Hunton
Heather Freeman
Heather Etherton
Chris Thompson
Angie Azar
Tony Roche
Vanessa Hadford
Tyra Williams
Carlena Hockersmith
Sarah Lufkin
Gail Guy
Keyra Elder
Lawrence Long
Jesse Wanskasmith
Melissa Lindsey
Erica Martinez

Good Luck Class of 2008!

May 2008: Tony Roche

2008-05-13T12:09:00.000-07:00

April 2008: Zachary Mazur

2008-04-01T10:35:00.000-07:00

Chain Reaction: Circum-navigating the Hanford Nuclear Reservation
Zachary Mazur explores the social and environmental issues surrounding the Hanford Nuclear Reservation through a series of images taken as he travelled the 586 square mile perimeter.

Established as part of the Manhattan Project in 1943, Hanford is the largest nuclear waste facility in the Western Hemisphere. These photographs challenge our mythology of "Great American West" by juxtapositioning the beautiful visual aesthetic of the photographs with the knowledge that this is a toxic landscape that has become the world's largest environmental cleanup effort.

To see more of Zachary Mazur's work visit his website at www.photozam.com

January 2008: Bobbi Zorn

2008-01-22T17:16:00.000-08:00

The SFCC Photography gallery is proud to host the abstract photographs of Bobbi Zorn. Bobbi is a former student of our program and is active in the Spokane Camera Club.

"I'm a simple-minded photographer. I believe the simpler the composition the easier on the mind. We all need a rest from the informational highway that constantly bombards us daily. "

To see more of Bobbi Zorn's work check out her website at: http://www.phottwigging.com/-/phottwigging/

November 2007: Douglas Bienert

2007-11-21T11:26:00.000-08:00

Artist Statement
For centuries artist created by making images on objects such as cave walls, vases, pieces of wood, canvas, and church ceilings. With painting, ideas, shapes, and realistic objects are composed by the artist in an ordered way on these pre-chosen surfaces. Photography was a revolutionary way of creating. Through the lens a “canvas” is placed in front of the world. Imposing this window allows the photographer to find the order hidden in what appears to be chaos. With the advent of digital imaging and Photoshop the photographer can now more readily combine objects from various images, combining them into one. I was trained before this era and was inspired by the earlier philosophy of seeing.

Ever since my dad bought me my first camera, a Pentax K1000, I have loved wandering the city. The images in “Urban Wayfarer” explore the cities of Portland, Seattle, and Vancouver, British Columbia in abstracted detail. Though digitally created, these are not multiple photographs combined into a new image. These photographs are found “as they are”. The only manipulations are similar to a traditional darkroom where basic colour is worked with and selective lightening and darkening of areas of the print are made. In this way these photographs are the ordinary transformed. All of these images are of things one may pass by every day without noticing: a dumpster, cement benches, or a locked parking garage.

The camera is my tool. Through it I give a reason to everything
around me.

-Andre Kertesz

About the edition.
Each print in “Urban Wayfarer” is limited to 20 signed copies. Prints are carbon pigment giclée prints on 100% cotton archival rag paper, sprayed with archival fixative. The prints are mounted and window-matted with 100% cotton archival museum quality mount board.
About the artist

Douglas Bienert is a freelance photographer from Portland, Oregon. In high school he was fortunate to have been schooled in classical fine art black and white photographic technique. In 1991 he graduated from Brooks Institute of Photography in Santa Barbara, California earning a B.A. in Advertising and Illustration Photography. He returned to Portland and taught photography at the high school level until 1999. In addition to his fine art, his services are available for portraits and commercial advertising projects.

To see more of his work visit www.douglasbienert.com.