Love XI, Collage, 2006

When I first saw these images, I was rendered speechless.

British artist John Stezaker… what can I say… just amazing.


John Stezaker - Cinema 1 I   - The Approach

Cinema 1 I, Collage, 2005

Stezaker makes collages of old images–classic movie stills, vintage postcards and book illustrations–into new images.

I can’t even imagine the pain he must have felt cutting up old bromides–I was almost emotional looking at this work just thinking about destroying these images to create new ones.



Pair IV, 2007



Marriage XXXII, 2007

John Stezaker - Mask LXV  - The Approach

Mask LXV, 2007

If you’re lucky enough to be in London right now he has an exhibition at the Whitechapel Gallery that you should go to and tell me all about so I can live vicariously through you (please).


*note: apparently  “Steaz,” “Steaze,” or “Steazy” has a variety of meanings according to more urban sources. I simply shortened the artist’s name because I wanted to sound gangster and clever, and I am not implying any other meaning by this hyphenation other than to be witty.



+ read: this

+ listen: These Days–Nico

+ eat: Homemade Calzones





Lina Scheynius

At my parents

Ida Nielsen



+ read: Joel Cortez Garcia–Magnetic Fields

+ listen: Max Richter–On the Nature of Daylight

+ watch: Happy Together



swoon vs. cyclone, Brooklyn Museum

Today my post is actually something I have to do for school, but it was pretty amazing and inspiring so of course I had to share.

For my Art in the Elementary School Studio class we’ve been divided up into small groups and asked to research an artist to theoretically introduce to elementary-aged students and present ways in which to integrate the art with other subjects relevant to the students, as well as the artist.

So pretty easy right?  Haha, well… with the artist my partner and I are doing our research on, it is.

“Callie” Curry aka Swoon is an amazing Floridian turned New York street artist. Utilizing blockprinting and wheatpasting as her main medium, Swoon creates beautiful images of the people around here. (For a more in depth description of her work and intentions visit Philagrafika 2010)

We’re basing our research off of this clip, which along with the website mentioned above, I believe give a pretty great summation of what everyone is Swoon-ing over.


I can’t wait for this summer season to begin! So many fun things are happening and I just want to get out and do them!

Coming up soon, and something I’m really excited about is the Northwest Film Center presenting the best film ever made about filmmaking: Frederico Fellini’s Oscar-winning 8½. Cutting freely between dream sequences, flashbacks, and the present, Fellini brilliantly weaves memory, fantasy, and reality into an intense psychological portrait and a thoughtful meditation on the life of an artist. The most autobiographical of Fellini’s work, 8½ is one of cinema’s greatest and most influential films.

I found a clip that beautifully illustrates the flashback vs. present aspect of the film.

Not only is it a fantastic film, the aspect of photography is so beautifully articulated! What can I say, I’m a photo-junkie.

If you’re in the Portland Metro-Area between June 18th-21st, you definitely have to fit this screening into your schedule.


Today I had to do a presentation on artists and things that inspire my photographic body of work, and I just decided that I would also share that with all of you, since I’ve been bad about posting my work.

The first thing that really got me into photography was a short film that my basic photo instructor showed during one of our first classes and it stuck with me ever since. I’ve seen this film several times because that’s just what we do in photo, but it’s actually pretty phenomenal in my opinion. The film La Jetée (aka. The Pier) is a post-apocalyptic photo-montage that was actually the inspiration to the film ’12 Monkeys’. It also serves as a great inspiration to my work.

I also love Uta Barth and Guiseppe Penone, but I’ve already done posts about both of them.

A lot of my work seems to come from the same place: my obsessions. I’m actually pretty obsessively compulsive about cleanliness and well, just anal retentive about everything else basically. My first real body of work focused around how many times I washed my hands in one day; I would take a picture of the sink I washed my hands at every time I washed my hands. Subsequently I made a book of all 84 images.

These images were taken in the printmaking studio where I had an 8am Intaglio class. Powdered Resin and Ferrous Chloride tend to make me scrub my hands pretty vigorously.


My next body of work was all about how I try to erase my physical presence in my own home, and even no matter how hard I try, it doesn’t matter there is always a trace left behind. The whole exercise actually made me more neurotic than I already am, so I decided to stop and move on to a new concept.

40 Day Dream

The idea that small traces of my body made such a big impact on my environment was pretty outrageous to me. I started exploring the idea of utilizing my body to create landscapes and subsequently began my largest body of work: 40 Day Dream (after the Edward Sharpe and the Magnetic Zeros song). This was the first image taken of my initial sleep study.

sleep. study.

This is the first of the series that I’ve been working on in my large format class. This particular exposure is only about an hour long, but the rest of the series is upwards of 4 hours.  This body of work discusses issues surrounding omnipresence, sleep, consciousness, the environment in relation to the body and mind.