Susan Seubert at the Froelick Gallery and the Venice Biennale

Susan Seubert at the Froelick Gallery and the Venice Biennale

For Portland Photo Month the Froelick Gallery has mounted an exhibition of my photographs entitled, “Not A Day Goes By.”

The 2016 rise of a racist, xenophobic, sexist, bigoted, extreme-right political climate in the U.S. presidential political cycle profoundly depressed me. Climate change in both its literal and figurative sense was being denied as a hoax. Lies and fake news were accepted as “politics as usual.” It seemed to me that America was smothering all the positive ideals historically it has stood for. Unbearable emotional pain motivated me to explore showing this issue visually as suicide.

The show is a body of work produced to illustrate suicide. The images in the series, “Manner Of,” present common objects used to take one’s life. The muted black and white palate and soft image quality of the print rendered on tissue paper is then further obscured by the encaustic medium. This treatment of the photograph underscores the veiled nature of the option of suicide. The portraits of people with their heads wrapped in plastic illustrate acts of asphyxiation. The cool tonality combined with the highly reflective, almost mirrored surface of the work adds a performative aspect to the piece: a glimpse of the viewer’s image is reflected, offering a space to contemplate suicide.

Five works from the “Asphyxiation” series will be included in the Personal Structures show, curated by the Global Art Affairs Foundation, at the 2017 Venice Biennale, and hosted by the European Cultural Center at the Palazzo Bembo.  This work will be on display from May 13 – November 26, 2017 in Venice.  For more information, you can download a press kit here.

 

artist: Susan Seubert, title: Asphyxiation #16, size: 40×30″ (101.6cm X 76.2cm), year: 2017, medium: metal photographic print

“Manner Of: Noose”, From the series, “Manner Of,” as part of the show, “Not a Day Goes By.” 12×12″ digital pigment print on silk tissue, edition of 10, 2017, artist: Susan Seubert

 

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Fine Art Photography: The Digital Divide by Susan Seubert

Yet another long overdue post…

This year I was one of  24 artists/teams selected for the citywide Oregon Biennial, Portland2012 which was held earlier this year. Portland2012, the Biennial of Contemporary Art, is a major survey of work by visual artists who are defining and advancing the contemporary arts landscape in the state.  The show was presented by Disjecta and curated by Prudence F. Roberts.

My installation at Disjecta is titled, “The Digital Divide,” and consists of a series of QR codes installed in the gallery which, when scanned with a smart phone or other hand-held device, takes the viewer to videos and/or text.  The artist statement follows below.  You can view the installation on my fine art web site here.  The videos can be watched by scanning the QR codes from your computer screen, or by visiting the multimedia portion of my web site.  I would like to thank the fabulous people at Disjecta, Ms. Roberts, Marc Greenfield and all the volunteers that helped make this piece possible.  Tri-Met was a wonderful sponsor and included some stills from the videos on the sides of buses and on bus stop shelters throughout the city of Portland.

A still from, “The Digital Divide” installed on the side of a Tri-Met bus as part of Disjecta’s Portland2012, A Biennial of Contemporary Art

A still from “The Digital Divide,” an installation piece for Disjecta’s Portland2012, A Biennial of Contemporary Art.

The following is the artist statement for the piece:

To explore ideas of toxic waste, environmental impact due to rapid changes in technology, specifically communications technology, I have chosen to create a series of videos, which are accessible via QR codes using smart-phone technology. New methods of communication, (cell phones, smart phones, computers), have created forms of consumption which have had a direct correlation to the environmental impact of that consumption. Although not obvious, many natural resources are used to manufacture technological goods that we now rely on for communication. These materials are often harvested from third world nations, the most famous example being the Democratic Republic of the Congo where the thirst for Colton has fueled violent conflict. Some heavy metals are used in the manufacturing of communication technology such as cadmium, lead and arsenic. The rapid change in such things as processor speed and memory capacity has led to an enormous turnover in electronic hardware waste. (One statistic cites that the performance values of Information and Communication Technology double every 18 months.)
QR (Quick Response) codes are a type of matrix barcode, which consists of black modules arranged in a square pattern on a white background. They were designed by the Japanese in the early 1990’s to track vehicles during the manufacturing process. The use of the QR code is growing as a point-of-purchase symbol, where the consumer can scan the code and be taken to a video about whatever product to which the code is connected. The codes can be used for urls, text or numeric information. The problem is that the consumer must have a smart phone, access to the Internet and the application that allows the camera to read the code. Using QR codes as a method of communication, in order to see the actual visual information it conveys, most of which could normally be seen using our eyes through traditional media, one must use a camera. Eyes will simply no longer suffice to handle the task of reading, (i.e de-coding), the image.
Semaphore signal videos installed on the Internet, transmitted to the viewer via QR codes, emphasizes the digital divide that is currently prevailing in our global culture.
Working on the assumption that most viewers of this piece will not be able to read the semaphore signals as letters, (which form a sentence relevant to each location where the video was made), and that there will also be a number of viewers who will not have the relevant technology to read the QR codes, the piece will have effectively alienated the viewer from at least one critical portion of the piece, therefore encompassing both ends of the digital divide. I chose to use the Semaphore code because it is being phased out as a means of communication. Although it is still used in certain military situations, (such as refueling ships or moving munitions at sea), it will soon be gone as a method of communication. The Semaphore Flags system is used for conveying information at a distance by means of visual signals with hand-held flags.