Chandi Kelley washington, dc
Unnatural Histories highlights the tension between fiction and documentation through constructed environments and the objects that inhabit them. I seek blurred lines between the real and the unreal, and the points where these two worlds intersect. In this body of workI have applied artifice to natural objects, and sometimes to artificial objects that mimic the natural. The application of gold in various forms is an over the top gesture to draw attention to natural beauty, create a spectacle of nature, and perhaps even to assign value to waning preciousness. By adding superfluous attributes, I manipulate these objects until they become relics of a false natural history, teetering on a line between the familiar and the unfamiliar.
Chandi Kelley graduated with a BFA in photography from the Corcoran College of Art and Design in 2004. She was the recipient of a Young Artist Grant from the DC Commission on the Arts and Humanities in 2009, which led to her first solo exhibition. From 2010 to 2012 she was a member of the DC Arts Center artist collective, Sparkplug. She has presented her work at the Ullens Center for Contemporary Art in Beijing, and is in the permanent collection of the U.S. Embassy in Malta, as well as in private collections throughout the U.S. She is a Co-Founder and Administrator of the artwork subscription service, Project Dispatch, and Co-Founder of Outer Space. She has served on the Publishers Exhibition Committee for Fotoweek DC, as Artist Nominator for the 2012 Transformer Auction at the Corcoran Gallery of Art, and currently serves on the Visual Arts Committee and the Board of Directors at the DC Arts Center. She lives and works in Washington, DC.
Visit Kelley's website at www.chandikelley.com.
D.B. Stovall Washington, dc
A Slower Way of Seeing: Photographs of the American Vernacular
Vernacular: (noun) the common, everyday language of ordinary people; the architecture of a particular place or people.
Although I call my work "American Vernacular," it is important that it be understood what it is and what it isn't. Although some have termed it "old buildings," that is selling it far too short. I do tend to look for older buildings, but that is more due to the fact that older structures, like whiskey or cognac aging in a barrel, acquire a certain color and flavor after many years. This is enhanced by the various hands that have put their own touches onto the structure, like an artist on a canvas over a long period.
I try to capture that sense, as well as highlight the subjects that others tend to overlook. The view camera is a perfect tool for this work. It enforces a discipline on my vision, what I call a "slower way of seeing" that highlights the sharp detail that would otherwise be lost in the camouflage of the everyday.
D. B. Stovall, a Washington, DC area native, bought his first camera at age 10 – a Rosko purchased for 88 cents at Murphy’s Five and Dime. Quickly moving on to various Instamatics, an old Leica D, and finally Japanese 35mm SLRs, Stovall explored various aspects of black and white photography, becoming adept at all kinds of darkroom work by the time he entered high school. Stovall was introduced to the view camera at the Rochester Institute of Technology in the early 1970s and eventually moved on to large format color transparency in a realism-based vision, which he still practices today. With today's technology making it easier to obtain high quality archival prints from transparencies, Stovall returned to the view camera in the mid 2000's and has since then been in over 100 juried group and solo shows.
Visit Stovall's website at www.dbstovall.com.
Having a Ball
Having a Ball grew out of Pamela Viola's desire to loosen up her work, and the result are works that are light and whimsical. Using images captured from an iPhone and composited on an iPad, this series is full of layered metaphor, symbolism, and subtle mystery, creating a narrative that is a world of dreams and memories.
Viola earned her BA from in St. John’s University before getting certificate in film making from New York University. After spending 15 years in the film industry, working as a freelance Production Coordinator and Production Manager on feature films such as Black Hawk Down, Hannibal, Natural Born Killers, Nell and Six Degrees of Separation, she returned to still photography as both a commerical and fine art photographer. Her work is regularly featured in galleries throughout metropolitan Washington, DC and New York, and is held in public, private, and corporate collections worldwide.
Visit Viola's website at www.pamelaviola.com.