Archive for November, 2009

Going to the Theatre

I spent tonight rewatching the documentary What Remains about Sally Mann’s study of death and in the end, life. Isn’t it fascinating how she began that project with death and ends with life? I find her approach to work very inspiring. I like how she looks outside of the world of photography, in her case it seems most often to be writing, as ways to guide her progress and self evaluate, yet always turns inward. She works from the inside out which I think is how I’ve modeled my own work process. I’ve been thinking a lot about my own images over the last week, especially because when you have to give a presentation and in some way try to explain in words a completely visceral reaction to a site or scene, it demands a new kind of reflection, one that will hopefully in the end make some kind of sense.

I’ve been trying to describe what it is that I’m after in images, (what am I looking for?) in two sentences. I think for those who are working consistently and who have a distinct voice, there ends up being some common thread—and it is the photographer who is able to show that commonality in varying ways that fascinates and inspires me the most. I am humbly striving to be that photographer.

I’ve seen a lot of photographers describe their work as studies of the “dreamscape.” For me, my own images that might attract the label of “dreamscape” are really more about a fear of death, or about trying to imagine what, if anything, the experience of dying might be like. I fear death more than anything and I believe, if I had to describe my work, it would be about the process of searching, searching for what in the world will live far beyond me—trees, rivers, plants, stars. It might be that in my subconscious, I believe that by seeing these things, by really examining them in their varying forms, shapes, colors, and moods, I will remember them in death, and be comforted by it.

I do not have hardly any snapshots of friends or family up in my house. It’s strange because I’d never even noticed it until it was pointed out to me once. I realized that I don’t really like to photograph my friends or family very much. But I do have pictures of trees and other elements of the natural world up on the walls. I look at them quite a bit. I think it makes me sad to look at people, to know that someday, this friend, this parent, this lover won’t be here… and it’s too painful to be reminded of it. But the trees, plants and in some cases, buildings, will be, and so it’s safer for me, more peaceful to be around them, it’s ok for me to get attached to them because they’ll never leave.

I found out yesterday that next week I’ll be going to the theatre… not to see a show unfortunately, but for surgery. It’s not “emergency surgery,” but when I asked the doctor, “when does this need to happen?” her response was, “as soon as possible.” So, again, the thoughts of death persist. I’m scared. I’m not overrun with it, I don’t believe this is life threatening, but it’s a marker along the way to what will eventually be my end. Whether I will be up to giving the talk at Blue Sky is in question. The recovery time, I’m told, will vary between 1 week or 6 weeks, it all depends on how it goes. I’m in good hands, good surgeons so there is some comfort (I guess) in that.

This might be my only post for a bit so I thought I’d leave you with another image from a new body of work as yet untitled… See you all soon and pray for a good show.

© Lauren Henkin

© Lauren Henkin

The Evolution of a Portfolio

With my upcoming talk at Blue Sky approaching on the 12th of December, I’ve been spending some time looking back at how my portfolios have evolved—in particular how Displaced: Part II started one way and went through a long process of evolution before becoming was it finally was supposed to be.

So, I thought I’d take you through how that body of work started and struggled to get to where I needed it to be.

I had started the series, on Rock Creek Park in Washington, DC, in 2005. I brought my 4×5 large format camera into the park hoping to show a side of the park that I felt hadn’t been done before. The result was images that were extremely sharp, too contrasty, and generally lacking the mood I was hoping for. Here was one of the images I originally shot.

© Lauren Henkin, Rock Creek 1

© Lauren Henkin, Rock Creek 1

While I found this image to be beautiful, it wasn’t right. It felt too soft. Not that it was out of focus, but soft in mood, too feminine almost. I took maybe 25 images like this and without finding what I wanted, or knowing how to proceed, I just stopped.

Then, a few months later, I thought maybe I was using the wrong camera or that it shouldn’t be in black and white. So I rented a digital camera (I have done this periodically to quiet the other digital photographers I know who are consistently trying to convince me that digital is better than film) and went back out. A sample from a few more trips is below.

© LaurenHenkin, Rock Creek 2

© LaurenHenkin, Rock Creek 2

This image to me first was just not interesting at all, the digital camera could not come even close to handling the contrast that was in the park and I felt like it was just starting to look like traditional nature photography. I had strayed farther away from what I was after than when I had first started with the large format camera. So again, I abandoned the project.

Then, I was asked by washingtonpost.com to create a photographic essay titled “What It’s Like to be a Washingtonian” in two weeks. YES. An entire existence, a place I had called home for nearly thirty years in two weeks. I did the best I could. I knew I needed to shoot it in medium format (to save time and be able to move easier) and I wanted it to be in black and white. It gave me yet another opportunity to go into the park, with a third approach and attitude. An image from those outings is below.

© Lauren Henkin, Rock Creek 3

© Lauren Henkin, Rock Creek 3

This one was getting closer, but still wasn’t want I wanted. What I was hoping to show was the fear and disorientation I felt in that place. It’s possible I just wasn’t feeling it while I was there. I say that because it wasn’t until I came back from my trip to Nova Scotia, when I was feeling truly angry and scared that the images started coming. The first image in what ended up being the final series is here…

© Lauren Henkin, RockCreek 4

© Lauren Henkin, RockCreek 4

THIS was what I wanted. I started to see human forms in the forest. I felt scared and alone and disoriented. I walked isolated trails in overcast skies and rain searching for the images I hadn’t been capable of seeing before. It taught me that I can’t just go after something that I’m not actually feeling myself. I think my work is usually very personal—meaning it has to be about something I’m going through or can relate to—something I’ve experienced. I just wasn’t ready to take those images until that specific time. The story wasn’t ready to be told until then. And yes, this was with yet another kind of camera. A holga, a “toy camera” as people say. I will be writing about that label in another post.

I’ll leave this with another image from that final series…

© Lauren Henkin, Rock Creek 5

© Lauren Henkin, Rock Creek 5

More soon…

Coming soon…

Stole my dreams, stole my dreams, stole my dreams
Sold the shoes, sold the shoes, sold the shoes

If you’re gonna live in Memphis
No idea who you’re talking to

Steal your god, steal your god, steal your god
Sell your news, sell your news, sell your news

New friends walk beside the road
It’s just the idea what some people will do
I’ve been walking in circles
A new start in a new place to live
Saturday morning on Sunday street
How I long to be there

Making out, making out, making out
Door to door, door to door, door to door

Are we going to find each other
in this great big dark of night?
I’ve been walking in circles
A new start and a new place to live
Saturday morning on Sunday street
How I long to be there

Where’d you go? You’ve gone, you’ve gone your way
Slip or trip you’ll never walk away
Never walk away

Stole my dreams, stole my dreams, stole my dreams
Sold the shoes, sold the shoes, sold the shoes

My old friends lie beside the road
Life is a complete part of them
I’ve been walking in circles
A new start and new place to live
Saturday morning on Sunday street
How I long to be there

~ Mark Olson

© LaurenHenkin, 2009

© LaurenHenkin, 2009

SAVE THE DATE: Upcoming Talk at Blue Sky

SAVE THE DATE: Upcoming Talk

Blue Sky in Portland, Oregon invited me to give a talk on my work, and on Displaced, my new artist book, Saturday, December 12th at 3 p.m. I’ll be showing a copy of the book, prints and will talk about the making of the two portfolios that comprise the project.

Blue Sky is at 122 NW 8th Avenue in Portland.
For more information on the gallery, visit their website at www.blueskygallery.org or call 503-225-0210.

I hope to see you there!

Displaced Artist Book Now on Sale

Hello all… just wanted to let you know (a bit earlier than the rest of the world) that tomorrow the Displaced book will officially, publicly go on sale… So, for those of you who might be interested, take a look at the new website dedicated to the project and let me know if you have any questions at www.displacedproject.com!

I’m off to San Francisco tomorrow for a few days. I’ll be meeting with the director of Gallery 291 on Geary Street (www.gallery291.net). Of course I’ll keep you posted!

Take care…

Lauren

© Lauren Henkin. All rights reserved.

© Lauren Henkin. All rights reserved.