New Process Based Photography

  • Street Level Photoworks 103 Trongate Glasgow, G1 5HD United Kingdom

An exhibition featuring four contemporary artists who variously use intuitive processes to produce tactile, lyrical and multi-layered artworks. Includes Lorna Macintyre, Susanne Ramsenthaler, Karen L Vaughan and Catherine Cameron. Coincides with Blueprint II.

Lorna Macintyre studied BA Environmental Art and an MFA at The Glasgow School of Art. She works mainly with sculptural installation and photography, incorporating materials such as wood, mirrored glass, metals and fabric into her practice. Her installations frequently begin with a period of research. However, she uses unpredictable and intuitive processes of making and assembling her work. This means that the works are relatively abstract. They are poetic rather than literal in their relationship to her research. 

Susanne Ramsenthaler is a visual artist living in Edinburgh. Her work is mostly lens-based, encompassing a wide range of practice, from antique non-silver printing techniques to video, digital imaging and computer animation.

Her interest lies in visual perception as well as things that are liminal, on the edges, or hybrids – the fine line between attraction and repulsion, for example, and all things connected with this idea. In this spirit, mixing low-tech with high-tech, old with new, has become a regular mode of working. She exhibits widely on a national and international level. Her work has been shown in the UK, USA, South Africa, Spain, Germany, Croatia, and at the St. Petersburg Biennale, Russia.

Catherine Cameron is interested in psychological matters that form and shape us as human beings, with her work exploring the cyclical nature of repetitive thoughts and behaviour, the actions we repeat regardless of the results. She is interested in the role that hope holds in our lives, from its lifesaving capabilities to its detrimental aspects, when hope prevents us from making necessary changes, and moving on. The playwright Henrik Ibsen described this as the Life-Lie, a state of denial, the life-lie becomes a detrimental zone of comfort, a space inhabited by emotions like longing, melancholia and loneliness.

Karen L Vaughan has captured still and moving images in two equally remote but very different terrains of rural Scotland and the Canadian Rockies, documenting stilted journeys through ambiguous, but familiar landscapes. By deliberately double exposing the film in the camera, manipulating the film so that images run into and over each other, the outcomes often produce chance meetings and poetic relationships that reflect the fractured beauty and histories associated with the two areas.

Left image: Pick Me Up and Put Me Down Again 2015 © Catherine Cameron
Banner image: Remote Northeast Coast 2015 © Karen L Vaughan

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