Josef Venker, SJ, MFAChair206.email@example.com
Em OlsonOperations Manager206.firstname.lastname@example.org
Curated by Claire GaroutteVachon GalleryExhibition: May 22, 2014-June 14, 2014Opening Reception: May 22, 2014, 4:30-7:30PM
Seattle University presents the Annual Bachelor of Fine Arts (BFA) Photography Exhibition. Participating students, each with unique personal style, represent the graduating class from Seattle University's BFA degree program in photography.
Scarlet Letters is a provocative rendition of a timeless composition: the nude form draped in fabric. Referencing the classic American novel, The Scarlet Letter, Edwards creates an alphabet of red satin that investigates the repercussions of stereotypes and stigmas. Through studio portraits and intimate revelations from the participants the viewer is invited to consider how labels can affect the people around them.To discuss her project in depth please join Ms. Edwards for an artist talk on May 29th from 6-7 p.m. (Vachon Gallery, Fine Arts Building, Seattle University)
In her intimate documentary, As The Grass Grows: A Journey into the Washington State Cannabis Industry, Allie Beckett follows the historic emergence of cannabis culture in our state. In this revealing book and exhibition, Beckett combines her candid and uncensored approach with prominent commentary from within the movement, making for an artistic, yet informative glance into this budding industry.
In her photographic series, PORTAL, Bridget Baker immerses her viewers into portals of surreal environments. Drawing from the photographer’s past familiarities and experiences, the photographs hold mystical reflections of different times and places. These curious places are at once immediate and nostalgic.
In Lost in Reverie Casey Walker departs from reality by creating striking worlds and characters. Walker’s elaborately constructed scenes are influenced by folklore, literature, and film. Finding reality overrated, she escapes into daydreams to reveal a much more interesting, and fantastical world.
In Un/Conscious, Felix Hidajat’s staged images provoke unsettling and sometimes disturbing feelings in the almost real events he depicts. His characters often appear anxious and uneasy, dwelling in surreal environments as if living in an unconscious state created by his artful and dramatic lighting. The viewer is faced with ambiguity as they watch these vulnerable characters engulfed in their darkest moments.
Heather Nelson’s Evidence of Presence focuses on the often unseen, forgotten, ignored, or neglected traces of life. Her subtle visual studies encourage a meditation of these mundane objects through the physical senses. Each of Nelson’s delicate compositions brings forth the unique light that settles around and within each one. These things have a life of their-own and speak to the rhythm of living, dying, and dwelling.
these things happen is a documentary of self and family. In this lyrical work, Kateri Town explores a period when her life was changed by trauma. The images document her family through their experiences of hardship and the growth that resulted because of their individual and collective resilience. Through personal text and photographs of home and intimate moments, Town examines the evolving nature of family connections.
Kristen Fite’s Demons in My View presents an honest and revealing investigation of the minds of those tormented, including her own, externalizing the internal battles one faces when dealing with depression and anxiety. With burned edges, dripped wax, and splattered paint, the photographs are manipulated objects in reflection of altered states of mind.
In Places We Keep, Lana Blinderman spends her time in the company of beautiful buildings. She is often spotted carrying a heavy camera and a tripod around her neighborhood while photographing notable early and mid-twentieth century apartments. In a rapidly changing urban landscape, the dirty words “gentrification” and “displacement” invade our lives, neighborhoods, and conversations. Blinderman draws attention to the beauty and historic character of Seattle's Capitol Hill. Through her fine documentary images, we are asked to consider the implications of urban redevelopment.
In her installation Remnants: a surviving trace, Denise Lopez challenges the connection between memory and reality. Her display of frantically collected Polaroids (hundreds taken over the past several weeks) and thoughtfully constructed photographs provoke the viewer to question the notion of memory as a fixed reality. Installing each photograph – one by one - becomes a ritual as Lopez attempts to connect individual “memories” to the actual lived experience.
In Positively Strong, Nick Spaccarotelli visualizes exactly that: individuals with HIV who have overcome stigmas and hardships to become positively strong and confident. This collection of photographs, accompanied by text drawn from interviews, features empowered individuals of all genders, races, ages, and sexual orientations emphasizing diversity within the HIV positive community. Though he is HIV negative, Spaccarotelli was inspired by his HIV positive fiancé to seek out other individuals who exemplify strength and positive attitudes in the face of adversity. The collection of images will be donated to the local non-profit Lifelong AIDS Alliance in hopes that a shared positive voice will inspire others.