In “Placements”, I am continuing an exploration of “performative photography.” Whether the photograph is an explicit depiction of the landscape or a more abstracted representation, I fracture each setting with my own hand to reveal moments that expand the viewer’s perception.
When earthworks artist Robert Smithson began his “Displacements” in 1968, he said, “a mirror in a sense is both the physical mirror and the reflection” it is “a concept and abstraction…a displacement of properties.” He made work that relied on the perception of the viewer and inspired a discussion of both absence and presence. I use similar ideas to create my series “Placements,” but my process is predominantly additive, placing rather than displacing. By way of a mirror in the palm of my hand, I double the information in the photographs to create more omniscient, dream-like landscapes. Although the photographic lens is limited in the scope of what it can record, I, in essence, trick the lens, through very low-tech means, into recording more than one view simultaneously. Each photograph adds another dimension to the landscapes, allowing the viewer to see both forward and back, seemingly poised between the past and the future.
Julianne Swartz received her MFA in sculpture from Bard College in 2002. She has exhibited her work in one-person shows throughout the United States as well as some in the U.K, China, Germany, and Ireland and included in exhibitions as such institutions as Tate Liverpool, Whitney Museum of American Art (The 2004 Biennial exhibition), New Museum, P.S.1/MoMA, Sculpture Center, Artist’s Space, Tang Museum, and Palm Beach Institute of Contemporary Art. She is the recipient of numerous awards and grants including most recently, New York Foundation for the Arts, Artist’s Fellowship in Sculpture, and the P.S. 1 Museum, National and International studio program.