December 1 2016 – January 31, 2017
Darkroom instructor Daniel Ābide takes us home to the Mississippi Delta with his ongoing documentary project “The Delta”.
Juried Group Show
October 7 – November 1, 2016
Glitch art is the aestheticization of digital or analog errors. This exhibition will focus on Glitch photography – experimentation through manipulation of an original image using creative post-photography processes. Unexpected material exploration is encouraged, as are works made using “glitch” processes and other practices that have been sourced with (mostly) non-photographic media, such as catalog clippings, literary texts, 3D Models, Film Stills, Paintings, and Vector graphics, stills from video or animated GIFs.
“Make Mine Ours”
Andrea Laborde Barbier
March 4 – May 1, 2016
“Make Mine Ours” is a small collection inside a much larger body of work that deals with projected familiarity and memory. The imagery and process of this series are inexorably intertwined and rely on each other for their existence. I work with a French process called mordançage, which through the application of chemistry to a silver-gelatin print, etches away visual information. The process yields one-of-a-kind images with as varied results as they come, as the chemicals eat into the fibers of the print, lifting off entire sections, roughing up surfaces, and leaving other areas untouched. It also has the result of creating fabric-like veils: detached areas of stretched emulsion that can be manipulated with water. Veiling information, obscuring it, complete removal — this leaves half filled-in photographs of figures in semi-familiar spaces that completely merge into one another, thus lending the opportunity for a viewer to project “as they will” into each picture, to fill in missing details from their own memories. What experiences are personal which are not universal? We find sadness, comfort, and joy in that others have been through what we have. The imperfect, fluid nature of the physical alterations reflects the changeable nature of our own memories: beautiful and inconstant despite ourselves.
January 7 – February 29, 2016
The ability of photojournalists and reporters to cover breaking news stories in exquisite and sometimes horrifying detail no matter where or when they occur makes it difficult to see what is funny, poignant, or appalling right in front of us. I photograph so that people, places, and moments in my pictures, most of them not exactly or even remotely newsworthy, do not disappear without a trace.
— From the introduction to Us. Pictures From America to be published later this year by George F. Thompson Publishing, Staunton, Virginia
“Let Me Tell You a Story”
November 13 – January 3, 2016
As a child, Sesame Street, along with a pair of wonderful parents, taught me to read. By the time I was three I was plowing through books with real sentences and not just lovely drawings.
My mother would not buy me “Where The Wild Things Are”, because of how much I loved going to the library. I would check it out one week, return it the next, and the check it out again the week after (I do now own a copy to save the librarians from seeing me as a creepy old man in the kids’ section.)
“Let Me Tell You a Story” is my first journey into the realm of the story book as a photographer. While using elements of my genuinely happy childhood, I tell the story of The Manguin along with his Cagañero (his Jiminy Cricket if you will) as he rises and falls. While The Manguin is the protagonist of this tale, he is no hero.
I use an extreme large format pinhole camera, to take 20”x24” color paper negatives, and contact print them with the traditional analog RA-4 color process. The camera was simply made of a big box, a piece of La Croix can, black duct tape and a couple of black towels. I set up the scenes with children’s toys, felt-boarding, and many different kinds of lights. The color pinhole process casts, by its very nature, a dreaminess over the images, with subdued and inaccurate colors and a softness to the image, despite the large depth of field. These images are between 15 to 20 minute exposures and were taken with the pinhole of the camera mere inches from the scene I set up. The text was make by color photograms, also by the analog process.
Thank you, and sweet dreams.
September 6 – November 1, 2015
Travel photography is one of the earliest photographic practices. In the 19th century, stereographs offered viewers virtual experiences of distant lands, cultures, and people. The history of the traveling camera has close ties to western imperialism, a history which problematizes our contemporary desire to travel and photograph unknown people and places. My Wanderlust photographs look at travel in a post-colonial era as well as how technology impacts personal relationships and historical narratives.
Wanderlust is an “anti-tourism” travel photography project where I photograph “non-places.” These non-places resist the concept of a progressive, manifest-destiny narrative. Viewers are prevented from seeing recognizable points of interest (as a tourist) and are forced to look at seemingly vacant locations. I shot black and white film with a 4 x 5 speed graphic camera to force myself to slow down during the image-capture process. The photographs are presented in a photo-essay format, where images tell a story about colonial redress rather than promoting the virtues of western expansion. Ultimately, Wanderlust presents a disorienting and quiet understanding of travel, places, American history, and my role in the colonial experience.
“Peanut Butter Perm Redux”
Conner Adams, Bridget Conn, Jason Scott Furr
July 7 – August 30, 2015
What began as a show at Harvest Records in spring 2015 continues in Silverspace this summer. Darkroom colleagues Conner, Bridget, and Scott present their ongoing chemical experimentations including chemigrams, chromoskedasic sabattier, and experimental c-prints. The work is fueled by process and surprise, using non-traditional chemicals and materials.
“Partner and Passage”
May 10 – June 28, 2015
This series of photographs is born of the daily practice of photography and a personal experience of place. Drawn from the past ten years of negatives and from places ranging from Hong Kong to rural Indiana, each set of diptychs is comprised of adjoining negatives – my partner and our passage. This requirement, that the negatives be a discreet unit bound by their proximate existence in time and their physical connection as an object is at the core of this work. As digital technology increasingly comes to dominant contemporary image making, this project has been an avenue for me to reconsider the unique formal and material properties of film as a medium. It is one answer to the question of film’s continued relevance for young photographers.
In addition to these formal and conceptual considerations, this series speaks to the deeply personal relationship between my partner and I. While many of the images reflect the intimacy born of this decade long bond, the images also consider the space that necessarily exist between even the closest of people. It is a meditation on the spaces that exist between people, places, and time.
March 10 – April 26, 2015
“I am shooting with Fujifilm FP-100B, a peel-apart black-and-white instant film that was discontinued in 2012. The fact that it was discontinued implies that people weren’t interested in using it enough to keep production going. However, it’s my experience that out of all my cameras, people are more likely to interact with me when I’m using my Polaroid Land Camera. There is a level of excitement and nostalgia that people experience when talking about instant film, a medium that most people believed to be dead. I’m intrigued by the contrast between the decision of the film industry to stop production and the enthusiasm I encounter from people on the street.” Conner’s Silverspace exhibit explores numerous formal compositions achieved through this film captured in both Asheville and abroad.
Works by Ten Regional Artists
January 7 – March 1, 2015
Silverspace will feature the work of ten regional artists for the first exhibition of 2015, invited by the darkroom’s director, Bridget Conn. The artists represent a variety of styles and mediums.
November 1 – December 31, 2014
When I was young, my family moved frequently in sudden expressions of dysfunction: reacting to job dissatisfactions, eroding relationships, failing marriages. With little or no notice, and once in the middle of the night, we piled into an old Buick and drove away, encouraged to feel as though we were starting some grand new adventure. As we moved from place to place I learned a sense of home as ephemeral, and belonging an illusion. People, places and things, once treasured, were temporary. And while I resented leaving relationships and home comforts behind to start over somewhere “better”, each new place offered or even demanded rich opportunities to reinvent myself, shedding old identity like a snake sheds skin.
Now, when finding myself in a new place, removed from familiar comforts I regard the objects around me. I find in them some continuity and recognize the need to create statements or expression for the feelings of uncertainty, isolation or hopefulness I have known while leaving all I have in one home and engaging the process of making a new one.
It seems to me these images were created as expressions of, and responses to this experience now common to many, that of starting over. Personal possessions evaluated for future usefulness, boxes gain crucial titles, and old haunts and friendships give way to distance. Through many moves I begin to see talismans take on new importance. They seem to help the process of making a place anchored as it morphs into a home.
Working within the traditions of analog capture and painting with light my work in this series of C-prints uses found objects, personal treasures and light to explore elements of discovery, illuminating loss and wisdom mined from relationships and dynamics once carried place to place, now re-imagined as cautionary tales.
“Light, Life, Iron and Magic”
September 6 – October 26, 2014
Today, every aspect of photography can be broken down and explained via mathematical equations and chemical reactions. With effort and proper techniques, we can predict the exact appearance of a print before it even comes into being. It wasn’t always like that. To the monks who carefully painted the iron-gall ink of illuminated manuscripts onto parchment pages, the Cyanotype process would be science so advanced it may as well be witchcraft. Despite all our modern advancements, a trace of magic remains in photography. You can see it as the chemistry washes away to reveal an image etched by sunlight. I surrender the control represented by carefully crafted paper, perfectly developed negatives and digitally timed UV-lamp exposures, letting the unique character of each hide, each day’s weather and each plant’s moisture create the image for me. I let go of the science, and embrace the magic.
July 5 – September 2, 2014
Photographs are meant to capture an ephemeral moment in time. An instant. The snapshot we see is a frozen image from a real event or experience taken through a non-objective lens.
When a pinhole image is taken, the exposure is lengthened, forcing the subject to become an extended version of a moment. Sometimes movement is blurred and colors run into each other. These photographs then become a dream like version of the space in which they were taken. By exploring time through photography, I hope to evoke a sense of emotion; the smells, sounds, and physicality of the space held within the photograph. An experience more than a documentation of the place. These photographs are records of a lapse of time and the emotional connections associated with that particular moment. They are pieces of a whole experience or event.
These images were made with a cardboard pinhole camera and hand-printed in the darkroom. The entire process of creating these prints is what attracts me to this form of art. From hand-winding the film into the camera and counting the length of time for each exposure to watching the image appear on paper is as integral to the final print as the actual image captured on film. These segments represent tiny moments of my everyday experiences.
“Black Bikers: The End of Danny Lyon and Cultural Refuge”
May 3 – July 1, 2014
The image of the “biker” as established by Danny Lyon’s 1967 series, The Bikeriders, has marked a moment in American history and helped create a common identity for the stereotype. This persona has since lost its foothold in the mass culture of motorcyclists leaving those involved to constantly combat the ideals put forth by such images. The black biker is a figure that stands contrary to Lyon’s work and marks a decidedly significant shift in the contemporary context of society and an end to Lyon’s vision.
Based on media, varied history and even the perceived apocalyptic image of their dress, there is a stigma that follows bikers. So prevalent that often when present the perception was that the community is threatened or facing cultural / economic demise. That is far from the case as they often do much to uplift their communities, yet this has become such a concern that law enforcement has severely cracked down on clubs and are sufficiently trying to push them out of cities regardless of their status but purely based on stereotype. Supported in today’s society, this image of the biker is increasingly popular as mediated through television and film (seen in productions like Sons of Anarchy, Easy Rider, Wild Angels, Satan’s Sadists) it more than often presents the role as outsider, violent, dangerous, above the law and more times than not, Caucasian.
The goals of these images are to showcase the men and women of primarily black motorcycle clubs. Photographed as groups or individuals they represent a shift in the culture of not only motorcyclists but also a biker persona. As they no longer are quantified through the lens of Danny Lyon, the Hells Angels or mass media they have assumed a new identity as fathers and sons, brothers and sisters, mothers and daughters, teachers and students all veiled in the garb of the “biker” without the attaching stigma. The goal of the work is to expose the image so heavily perpetrated by mass culture and help put an end to the vision of The Bikeriders as it is now represented in new faces. Utilizing much of the same mode of Lyon, by becoming part of the culture I seek to gain understanding and the potential for realistic portrayal and representation.
March 1 – April 27, 2014
“My work aims to describe the feelings and visuals that characterize the edges of sleep. I’m interested in this threshold and what happens right as we gain or lose consciousness. I use communication between painting and photography to emphasize the interaction between two realities. These photographs were created using two 19th century processes, salt printing and Van Dyke printing. Both processes involve exposing hand coated, light sensitive paper to a UV light source. The photos were then manipulated with either pastel or watercolor paints. This series aspires to reference not only the historical tension and play between painting and photography, but also the tension between the real and the unreal.”
Daniel Abide and Byron Browne
January 4 – February 25, 2014
“These silver gelatin photographs honor spaces, people, moments and boundaries between the known and the unknown – monuments to the moment of the explored and the yet to be explored. This is the first re-collaboration for local artists Daniel Abide and Byron Browne in 5 years, both UNCA graduates. We are using imagery of nature, travel, friends, and wandering experiences. These are a collection of photos compiled by two artists wanting to translate exploration.”
October 17 – December 14, 2013
Binary Existence is a series of black and white photographic images that combines positive and negative image in order to engage and create active viewers. While the series features traditional subjects (i.e. portraiture and landscapes), uses traditional processing and darkroom techniques (as well as digital), binary existence implements non-traditional display techniques, requiring viewer participation. The final images consist of positive and negative prints, cut and arranged on different planes, giving the work depth, separation, and movement.
John Dearing, Aspen Hochhalter, Laurie Schorr, and Jane Wiley
August 1 – October 9, 2013
Jane Wiley: Human + Nature series; gelatin silver prints from layered negatives
“I’m always looking for ways to combine my two favorite subjects — people and nature. I believe the two coexist sometimes in harmony, sometimes with the promise of assured mutual destruction. This series is a post-visualized exploration of that push and pull, the harmony and the dissonance.”
John Dearing: Cyanovellums series; cyanotype photograms of local flora printed in sunlight on scraps of animal hide parchment
“When I first began working with cyanotypes printed on parchment, it was just an experiment to see if it was possible. I quickly found that the hide produces absolutely unique results each time. Because no two pieces of hide are identical, the prints cannot be replicated. Each scrap of hide has its own character, texture and flaws.”
Aspen Hochhalter: I must make my bones; gum bichromate prints pigmented with the ash of burned objects such as human hair and found photographs
“The still images find physical form through the ash and symbolic strength through the burned object’s emotional resonance. Some of the images that emerge from the ash are ephemeral and lack solidity, others are strong in their form—both the hesitancy and strength represented in these images pay tribute to the courage of making one’s bones, as well as the enormity and complexity of the task.”
Laurie Schorr: Internal Topographies Series; Photogravures from layered negatives printed on topographic maps
“This series is composed of layered images or scanned photographic objects which each represent my sensitivity to being a woman—daughter, lover, sister, homemaker, teacher, partner, seeker and maker of my own home. The images are printed as photogravures onto 1927 topographical maps of Pisgah and Cherokee National Forest, a location where I have found the most peace and awareness of my strength of spirit and connection to my roots.”
Jason Clements and Bridget Conn
July 6 – 30, 2013
The inaugural exhibit of Silverspace consisted of photo-based wall installation by Bridget Conn, ambrotypes by Jason Clements, and a collaborative wall installation by the two. Seven-foot tall silver gelatin photograms were created across two enlargers, installed in the gallery, onto which the two artists painted directly on the walls to play with the concept of negative/positive space and the presence of objects breaking outside the photo paper.