For immediate release
Rawson Projects is very proud to announce its second solo exhibition with Lyndsy Welgos.
The artist will debut a new series of chromogenic prints that expand upon her interest in the materials of photography, as well as sculpture. As in her previous body of work, the artist sees the works in this exhibition as photo-constructs and even more so as collage.
The works take the human body as reproduced in the online Classical sculpture catalogue of The Metropolitan Museum of Art as a physical layer that the images come in contact with.
A conversation between the gallery and the artist follows.
Rawson Projects: Firstly, I think you have always attempted to address the identity of photography as an art medium in your work. In your first exhibition with Rawson Projects, while still employing photographic processes, you stripped the works of specific references to time and place. Can you describe how this new body of work continues to examine these aspects of contemporary photography?
Lyndsy Welgos: I guess it doesn’t directly address those issues from the last show, but I feel any time you have a photograph that is completely appropriated, abstract, or conflated in some way, photographic mythologies get a little mixed up. Obviously there is a kind of institutionalization of photography that is addressed in these works. Time and notions of realism are some of the biggest constraints that hold the medium to a certain institutionalized standard.
RP: What is the significance of the found images in the work? Specifically, why did you choose images from the Metropolitan Museum of Art’s online catalogue?
LW: Maybe it’s the ubiquity of these types of works that I wanted to appropriate. I don’t think these images have anything to do with art history itself. Now, they are in the context of a photograph that is its own sculptural object - one that doesn’t need to depend on a particular past for its livelihood.
RP: One thing that draws me to the collage works is how you create “space” by layering found images with borders and gradients. It’s as if the images are placed within a three-dimensional environment. It reminds me very much of the early days of the Internet where people built sites with this notion of “cyberspace” in mind. What drew you to this composition? Were you thinking about this sort of digital production when you created the works?
LW: Actually, I was, in my own way, trying to make them as non-referential as possible. I’m not exactly sure how you would categorize their style. I think the style for these pieces is just a reflection of this particular decade. I’m sure digital works ten years from now will look very different with changing tastes.
RP: Let’s talk about the elongation of two of the prints in the show. To me they accomplish a dual purpose. First, they make the print much more of an object by disrupting what people think of as “normal” photographic scale. Secondly, they seem to disrupt (rather than reflect or relate) to the surrounding environment. Do you agree? What interested you about this manipulation of scale?
LW: I think disorientation can work with a purpose. It can be subversively pleasing, while not being too dominating, and letting the medium be the strongest clearest element over those sexy abs in the image.
RP: Finally, would you say that your work is “conceptual” in the sense that it develops from an interest in the historical or theoretical underpinnings of photography, or do you see these sorts of issues develop as byproduct of aesthetic decisions you make?
LW: I do have an interest in historical or theoretical underpinnings of all artworks, not just photography. I think most artistic practice is a layer on layer like Photoshop itself. My work is never solely based on decisions. I haven’t saved that PDF yet, but maybe one day!
Lyndsy Welgos received her BFA from Atlanta College of Art in 2005. Recent group exhibitions include Take Out curated by Scott Hug, Andrew Edlin Gallery, New York, Good Friends curated by Paul Kopakou and Michael Bullock, Ass Gallery, New York, 50/20 curated by Panel, The Sultan Gallery, Sabhan, Kuwait, 2011; Seven curated by Jaime Sterns, P.P.O.W., Miami, Florida, Soliloquy II curated by Joseph Whitt, P.P.O.W., New York, 2010; and Still Life curated by Jon Feinstein, Camera Club Gallery, New York. Welgos's editorial work has been featured in publications such as K48, DIS Magazine, Visual Overture, Plan B, Useless, Paper Magazine and Vogue.