#Dan foley beach fossils song series#

Leslie WilsonДЄ tanned bikini-clad woman walks across a newly raked beach, a surface more scrubbed up than zen. The work will travel to a second solo exhibition in March of 2019 at Williamson Knight Gallery in Portland, ORД®xcerpt from 'In Silence Back' by Dr. This work was exhibited in a solo exhibition as the culmination of Seattle UniversityвЂ™s and Lee Center for the Arts, yearlong, High Resolution Media Artists Residency. My work continues to offer manifold discursive and material platforms for subjects historically deemed marginalized (especially people of color, low-income people, and queer communities) to shift power through the control of light. Through collaborative methods of performing in, refracting, and altering light we consider how our psychological and physical development is affected by lightness and darkness. The bleachers were purposefully designed on a corner, with one side being in shadow and the other in light. Part of the larger body of work The sun never knew how great it was until it struck the side of a building, вЂњBleachersвЂќ draws on the history of Brutalist architecture alongside current modes of prefabricated institutional sports and theatrical design. The work traveled to a second solo exhibition in March of 2019 with Holding Contemporary Gallery in Portland, OR.

I also worked with Creative Justice, an arts-based alternative to incarceration for young people in King County, Washington. Students collaborated on the experimental film, the score, the participatory dance, and photograms. As part of the residency, I taught a class at Seattle University that traced the research of this work.

I continually seek manifold discursive and material platforms for subjects historically deemed marginalized (especially people of color, low-income people, and queer communities) to shift power through the control of light. Influenced by material choices in carceral construction, the body of work includes a 4K HD experimental film of collaborative, choreographed dance with live orchestral accompaniment, large-format photogram prints, ceramic lantern sculptures, and wooden bleachers. Review of the work from Art Practical by James KnowltonД¬ontinuing an inquiry into exposure and the conditions of embodiment The sun never knew how great it was until it struck the side of a building is a current project that examines how light is constructed in juvenile detention environments, analyzing forms of controlled spatial collectivity. *Installation view from Vachon Gallery at Lee Center for the Arts, Seattle University The impression-making of both the photogravure and the titleвЂ™s embossed text reverse the moment where analog image practice translates to digital by making a finite negative and copy.Д¤K Film with score, 1920 x 1080 HD Video, Collaborative Dance, Photograms, Ceramic Towers, Pine Bleachers Formerly incarcerated individuals are subjected to after-life sentences through images produced and perpetuated online. The conversion into analog material is an effort to disrupt the mugshotвЂ™s permanence and reproducibility in the digital landscape. This iteration of вЂњIn 2020.вЂќ converts the artistвЂ™s fatherвЂ™s digital mugshot to this early analog image praxis. The photogravure is an early photomechanical invention that burns a negative onto a copper plate to be printed, which is akin to biometric data used in turn-of-the-century criminal identification.

#Dan foley beach fossils song series#

My father died in 2009.вЂќ is a photogravure series that engages photographyвЂ™s historical relationship to criminology and mass reproduction in newsprint. Copper-plate Photogravure and Embossing on handmade paperД¬ommissioned by Jacob Lawrence Gallery in Seattle, WA for the Lux Aeterna exhibition in 2021, вЂњIn 2020 I purchased and downloaded one of my fatherвЂ™s mugshots from a third-party criminal-search website for $29.99.