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Portraits of my mother Althea that I made as a teenager are displayed as illuminated transparencies. Shot on cross-processed slide film, the images have a dreamlike or ghostly quality. In “Pool,” assorted river rocks from the backyard, originally collected by my father, are used as a substrate for cyanotypes.
Althea’s tongue-in-cheek rule about tattoos (it better be on your butt and say MOM), is the premise for the titular black-and-white 16mm film. The film combines footage of my tattoo adapted from her handwriting with a sequence of moving still lives made inside the family home. Layered atop is a textural soundscape that combines manipulated audio from the song with field recordings, spoken text, and voicemails.
Photos: Josh Loeser
Portraits of my mother Althea that I made as a teenager are displayed as illuminated transparencies. Shot on cross-processed slide film, the images have a dreamlike or ghostly quality. In “Pool,” assorted river rocks from the backyard, originally collected by my father, are used as a substrate for cyanotypes.
Althea’s tongue-in-cheek rule about tattoos (it better be on your butt and say MOM), is the premise for the titular black-and-white 16mm film. The film combines footage of my tattoo adapted from her handwriting with a sequence of moving still lives made inside the family home. Layered atop is a textural soundscape that combines manipulated audio from the song with field recordings, spoken text, and voicemails.
Photos: Josh Loeser