[{"id":"63123","title":"Viviane Sassen's "Pikin Slee" and Elspeth Diederi's "In These Shadows"","alias":"viviane-sassen-pikin-slee-elspeth-diederi-s-in-these-shadows","catid":"12","published":"1","introtext":"There are two more days left for you to go see the sensational exhibition of work from Viviane Sassen and Elspeth Diederix at San Francisco\u2019s Casemore Kirkeby.","fulltext":"\r\n

Viviane Sassen and Elspeth Diederix first met in an art class as teenagers and have remained close friends throughout their adult lives. While they each came to photography by different routes, both cite their childhood experiences as Europeans living in Africa as formative to their sensibilities, and both create images that challenge the tendency to quickly categorize and make sense of what we see, especially when confronting a photograph. Instead they invite us into worlds that demand a sustained attentiveness, where novelty and surprise are fully integrated into the surroundings and textures of the everyday, and images and objects resonate with their own strange authority. They also privilege the highly personal and subjective view as the most open-ended approach to their material; whether working at home or abroad, both artists are fine-tuned to the experience of displacement, of finding the familiar in the foreign and vice versa, and create a generous space for what lies between.<\/p>\r\n

Known for her sculptural concern with form and expressive use of color, Viviane Sassen<\/a> is one of a handful of photographers to move successfully between fashion photography and fine art, letting the two cross-pollinate in ways that are surprising, confusing and often surreal. In both realms, Sassen skillfully creates tension between what is visually explicit and what is covert or inscrutable, and is one of the most compelling contemporary photographers at work today. Casemore Kirkeby\u2019s exhibition features Pikin Slee, a body of work Sassen created in a remote village in Suriname, accessible only via a threehour canoe journey into the rainforest. Formerly part of a Dutch colony, Pikin Slee was founded by Maroon people, African slaves who escaped the plantations, fled into the woods and made settlements. Sassen was drawn to the village, where the Saramacca community lives without running water, hardly any electricity or the internet and still speaks Dutch, for its complex connection to both the Netherlands and to Africa, where she has made much of her previous work. But Sassen\u2019s approach to this complexity is intimate and pared down, imbued with an elegant restraint that turns everyday sights in the village into offbeat meditations. Shooting mostly in black-and-white, and occasionally in color, Sassen intervened minimally in the daily routines of village life, instead adjusting her own position to allow space for what she found. The result is quiet and nuanced, with all the power of her incisive vision distilled to its most essential elements.<\/p>\r\n

Elspeth Diederix\u2019s<\/a> photographs appear otherworldly, but in fact they are very much of this world, and since 2009 often created in her \u201cstudio garden\u201d in Amsterdam, or underwater in the murky depths off the coast of Holland. Steering clear of post-production trickery, the magic of Diederix\u2019s images is grounded in the physical world of her subjects\u2014flowers combust as if from their own beauty and dandelions dangle in a web of nylon strings. Diederix started out as a painter and, after working in sculpture and installation, circled back to photography as a way to make permanent the fleeting arrangements she created in and around her studio. Photography allowed her a tremendous amount of flexibility to work with ephemeral materials and, when she moved to digital photography, to \u201cpaint\u201d again with color and shadow. Informed by the traditions of Dutch still life painting and the reverence for what is not long for this world, Elspeth\u2019s Diederix\u2019s imagery is suffused with mystery and energy that seems generated from within the objects and situations she photographs. They loom like wonderful question marks, a reminder that so much is yet unknown.<\/p>","video":null,"gallery":"{gallery}63123{\/gallery}","extra_fields":"[{\"id\":\"13\",\"value\":\"There are two more days left for you to go see the sensational exhibition of work from Viviane Sassen and Elspeth Diederix at San Francisco\\u2019s Casemore Kirkeby.\"},{\"id\":\"11\",\"value\":\"\"},{\"id\":\"4\",\"value\":\"\"},{\"id\":\"6\",\"value\":\"In these Shadows\"},{\"id\":\"3\",\"value\":\"Viviane Sassen\"},{\"id\":\"8\",\"value\":\"\"},{\"id\":\"1\",\"value\":\"2016-11-04\"},{\"id\":\"2\",\"value\":\"2016-12-23\"},{\"id\":\"10\",\"value\":\"Casemore Kirkeby\"},{\"id\":\"9\",\"value\":\"San Francisco\"},{\"id\":\"7\",\"value\":\"\"},{\"id\":\"5\",\"value\":\"\"},{\"id\":\"12\",\"value\":\"\"},{\"id\":\"14\",\"value\":\"\"},{\"id\":\"15\",\"value\":\"1\"},{\"id\":\"16\",\"value\":\"1\"}]","extra_fields_search":"There are two more days left for you to go see the sensational exhibition of work from Viviane Sassen and Elspeth Diederix at San Francisco\u2019s Casemore Kirkeby. In these Shadows Viviane Sassen Casemore Kirkeby San Francisco USA San Francisco (Bay Area) ","created":"December 21, 2016","created_by":"18533","created_by_alias":"","checked_out":"0","checked_out_time":"0000-00-00 00:00:00","modified":"2016-12-21 19:43:46","modified_by":"18516","publish_up":"2016-12-21 19:17:57","publish_down":"0000-00-00 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Shadows\"","numOfComments":"0","text":"There are two more days left for you to go see the sensational exhibition of work from Viviane Sassen and Elspeth Diederix at San Francisco\u2019s Casemore Kirkeby.","event":{"BeforeDisplay":"","AfterDisplay":"","AfterDisplayTitle":"","BeforeDisplayContent":"","AfterDisplayContent":"","K2BeforeDisplay":"","K2AfterDisplay":"","K2AfterDisplayTitle":"","K2BeforeDisplayContent":"","K2AfterDisplayContent":""},"jcfields":[],"videoClass":false,"twitter_introtext":""},{"id":"63122","title":"Baltimore Block by Block: An interview with photographer James Singewald","alias":"baltimore-block-by-block-an-interview-with-photgorapher-james-singewald","catid":"12","published":"1","introtext":"James Singewald is a photographer\u2019s photographer: he is nostalgic and knowledgeable, precise and caring with his technique.","fulltext":"\r\n

From Philadelphia to Baltimore, James Singewald\u2019s photographs of decaying urban landscapes and architecture is not just documentation of the old city environments. It allows the viewer to be intrigued just as much as the photographer himself. American cities are gentrifying for better or worse. Singewald\u2019s photography exposes the neighborhoods and structures which in time will be transformed, leaving us with a curiosity for change and a fascination with the power of photography.<\/p>\r\n

For the past eight years, James has been living and working in Baltimore, Maryland studying the city\u2019s history and the decay we see today, while also exploring how it can be rejuvenated. Upon moving to \u201cB\u2019more\u201d James was focused on the failed urban renewal project in East Baltimore known as the Old Town Mall, a now desolate two block pedestrian mall. He began by documenting each of the buildings on the mall and what was left of the neighborhood after decades of decline. A collaboration of photography and research informed Singewald of Old Town\u2019s past leading him to seek out lifelong residents and business owners. Their memories of the neighborhood and their hopes of the future provided additional motivation to Singwald\u2019s work culminating in his first published book titled, Old Town, East Baltimore<\/i>.<\/p>\r\n

In his own words Singewald says, \u201cThere are a lot of changes happening in Baltimore and in each of the neighborhoods I\u2019ve been photographing. My goal is to leave you not only with a sense of the condition of our city, but also a feeling of urgency to see that it is improved and preserved and that the rich history behind the architecture and the community is not lost, but rather embraced.\u201d<\/p>\r\n

The progression of Singwald\u2019s work has opened new chapters each step in it\u2019s evolution. For the past six years, Singewald has been working on a larger version of the Old Town project. The current project is Baltimore: A History, Block by Block. <\/i>Ten main streets have been documented with the support of two successful kickstarters and a few grants. Building by building, block by block, the saturated colors from the slide film gives the viewer a glimpse of what the dilapidated structures once were and what they can become.<\/p>\r\n

I was fortunate enough to get a hold of James Singewald and ask him further questions about his photography. \u2014Larry J. Napolitano Jr<\/a><\/em><\/p>\r\n

Larry J Napolitano: <\/i>You have dedicated lots of time to your craft and Baltimore. What is the long-term goal?
<\/strong>James Singewald:<\/em> <\/strong>So far I\u2019ve documented approximately 100+ city blocks (including Old Town Mall) with over 500 images. I currently have enough film for one more shoot and then I\u2019m out of film and funding for now. It\u2019s a good breaking point for me to pause on the photography leg of the project and to turn my focus to the research and presentation of this large body of work. The long-term goal, with proper funding, is to publish a series of books along with several exhibitions, preferably in the neighborhoods I\u2019ve been photographing. I also want to create a comprehensive, interactive website where I can present all of the photographs and research and make it accessible to the public so they can add stories or commentary about a building, street, or neighborhood.<\/p>\r\n

<\/i>I know you began by photographing the different neighborhoods back in Philly. What inspired you to originally start and continue your projects? Why are you intrigued? What are you looking for?
<\/strong>My work from Philly was more about exploration and photographing abandoned places and spaces around the city. Growing up in Providence, RI you just didn\u2019t see the scale of urban decay that exists in larger cities like Philadelphia. When I moved to Philly in 1998 to attend the University of the Arts, I was really drawn to the gritty city landscape and architecture. Fast forward ten years, I hadn\u2019t really been photographing as much after college, but wanted to get back to my art. I decided to go back to school for my MFA and ended moving to Baltimore in 2008 to attend Maryland Institute College of Art. The work I did in Philly was the base for something larger. I didn\u2019t want to become known as a \u201cruin porn\u201d photographer, a term I really don\u2019t like. I didn\u2019t want to continue to just photograph vacant buildings and urban decay just to photograph it. I decided I needed to put something more behind the photographs and that\u2019s what led me to the Old Town project I created for my master thesis and eventually to the Bmore Block by Block project I\u2019m currently working on. It\u201cs important to document these places, but it\u2019s even more important to understand why many of our cities have declined. I studied a lot of urban history, which really answered so many questions I had about American cities and how they were formed and how they\u2019ve changed over the past century. It makes the work I do more complete.<\/p>\r\n

<\/i>Once you conquer Baltimore photographically, will you relocate and start in another city or town?
<\/strong>Ha! A very good question! I\u2019m nowhere near completing this huge project, but I am making progress. I definitely want to pull it all together in the next year or two. I\u2019m not sure what happens after that. I recently took an extended vacation to California and spent a couple weeks in Oakland, San Francisco, Los Angeles, and San Diego. I shot a ton of 120 film out there which I enjoyed. It was refreshing to shoot similar but different subject matter. I really loved Oakland and could see myself going out there and shooting a smaller Oakland Block by Block project. That town is changing and gentrifying at a rapid rate. Many cities are in fact, so I think this idea of archiving what\u2019s left of the old architecture and neighborhoods before it turns over is important and worthwhile. Part of me also wants to go back to Philly and reshoot places I photographed 15 years ago to show the change. We\u2019ll see where I end up...<\/p>\r\n

<\/i>You are currently part of an exhibit at the Maryland Historical Society. Can you tell me a little about that?
<\/strong>The exhibit I\u2019m part of at the Maryland Historical Society is a collection of featured recent acquisitions to the Society\u2019s various collections. There is a slideshow of images from a few photographers from the Preserve the Baltimore Uprising 2015 Archive and a few of my images from the day after the April 2015 Uprising that happened in response to the death of Freddy Gray while in police custody.<\/p>\r\n

Preserve the Baltimore Uprising is a digital repository that seeks to preserve and make accessible original content that was captured and created by individual community members, grassroots organizations, and witnesses to the protests that followed the death of Freddie Gray on April 19, 2015. Preserve the Baltimore Uprising is a collaborative project of the Maryland Historical Society, Baltimore-area university faculty members, museums , and community organizations. (baltimoreuprising2015.org).<\/i><\/p>\r\n

Be sure to view more of James Singewald\u2019s current and future projects at his website<\/a>.<\/p>","video":null,"gallery":"{gallery}63122{\/gallery}","extra_fields":"[{\"id\":\"13\",\"value\":\"James Singewald is a photographer\\u2019s photographer: he is nostalgic and knowledgeable, precise and caring with his technique.\"},{\"id\":\"11\",\"value\":\"\"},{\"id\":\"4\",\"value\":\"\"},{\"id\":\"6\",\"value\":\"\"},{\"id\":\"3\",\"value\":\"James Singewald\"},{\"id\":\"8\",\"value\":\"\"},{\"id\":\"1\",\"value\":\"\"},{\"id\":\"2\",\"value\":\"\"},{\"id\":\"10\",\"value\":\"\"},{\"id\":\"9\",\"value\":\"\"},{\"id\":\"7\",\"value\":\"\"},{\"id\":\"5\",\"value\":\"\"},{\"id\":\"12\",\"value\":\"\"},{\"id\":\"14\",\"value\":\"\"},{\"id\":\"15\",\"value\":\"\"},{\"id\":\"16\",\"value\":\"\"}]","extra_fields_search":"James Singewald is a photographer\u2019s photographer: he is nostalgic and knowledgeable, precise and caring with his technique. 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Born in Israel and raised in both New York City and London, Yoni Lappin\u2019s<\/a> artistic journey grew from a love of music and film and a creative obsession that pushed him to remain faithful to his interests\u2014despite the divergent career his political science degree suggested. Alongside his studies Lappin was always creating, trying his hand in music production for a number of years, before realising it wasn\u2019t his path.  <\/p>\r\n