HOW DO YOU SAY WHAT IT'S LIKE
January 25 - February 22
"I’m lately tied up with an idea about the photograph as both a thing in the world but more so as a mirror, reflecting back, not being of the world but made of its material and tied intrinsically to it. I come back again and again to the split, the doubling, the break.It provides a place for that displacement to be contained, the displacement that happens whenever you take anything out of its context and look at it, point to it. The break forces you into remembering that the image is a surface, a thing, a something else."
Kristine Eudey sees the photographic form as rooted in two vastly different belief systems and her current work explores the flux between these two poles. The first of which is separatory, and along this line she questions how the photograph separates us from the world as lived, seen, and experienced. In some fundamental ways it constructs a lens through which we see, understand, and engage. We see through pictures, and we are constituted as separate from that which is seen through this relationship to vision. The world is then different than it was before viewing it through the image. Through this separation we become disembodied, from both ourselves and the body of the world to which we're connected. She considers the question ‘what can one know by seeing?’, and this question of knowing and what this kind of knowing does and does not support underpins her relationship to the medium. At a basic level it is not just about vision at all, but about the ways in which it is possible to conceive of the relationship between “I” and “everything”.
The second of these poles considers the photograph as connective. It can exist as a legible translation siphoned and brought back from the world, and in allowing for the translation of experience beyond the individual perceiver the image transmits important information about the world and shapes a mental space in which things are considered in relation to one another based on how they appear. The photograph can be considered to provide a totem through which to imagine and communicate existence beyond the immediately proximal. Symbols. Documents. A language; a slice that carries back with it information about the world, and specifically through the fragmentary nature, can suggest alternate visions about the connections between things and opens the possibility for alternate readings of the visible. Through the gestures of pointing and juxtaposition photographs have the capacity to construct narratives from a world which, in its complex totality, is impossible to fully grasp. They also become representative of things larger than themselves and their appearances and, in this way, function as prompts or stand-ins through which the reckoning of a vast world is offered. Non linear, decontextualized, and fragmentary realities can exist at once and the world is thus revealed as not fitting within the tight constraints of the immediate and physically/conceptually proximal or harmonious, but as ultimately unified in its disparate totality. Through this reconciliation of unity the viewer of images in the world is also, perhaps, able to potentially be reconciled as unified and contiguous within that which is seen.
Rather than starting from a belief in their mutual exclusivity, the ground of her work is instead the navigation of space between two seemingly oppositional poles by which one might consider the photographic. She views her practice within the medium as akin to both the speaking of a language and the breaking apart of that language at once. In this exhibition, Eudey starts with the shift or the break between images, slices of looking.
Kristine Eudey is a visual artist who lives and works in Oakland, CA. She is currently an MFA Candidate at California College of the Arts. Born in Rockford, IL she completed BFA degrees in photography and sculpture at University of Illinois in 2009. Her work has been exhibited and published both nationally and internationally with recent exhibitions at S.H.E.D. Projects (Oakland, CA), ANU Photospace (Canberra, Australia), and recently featured in New York based publication The World According To.