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Once Glacier


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Once Glacier


Above: Once Glacier, HD Video 16:9, with Sound, 7 minutes 2018-2019



Exhibition

Jennifer Brandon & Andréanne Michon: Colliding, SF Camerawork, San Francisco, United States

April 11th through June 8th, 2019

Colliding presents two early-career artists working on the conceptual edges of the photographic medium and its ability to represent the physical world. For this collaborative presentation, Jennifer Brandon and Andréanne Michon have carefully intertwined several series of work around a shared interest in how the tools of photography can be exploited to connect us to our material surroundings. The exhibition includes photography, video, sculpture, and works on a variety of papers and substrates.

Working with simple and often unexpected subject matter, both artists employ an array of photographic techniques, integrating lens-based and camera-less images, film and digital, and layers of print-making methods. With subjects ranging from volcanic ash to ordinary darkroom chemicals, both artists make use of photography’s ability to describe, record, and imprint visual information. Their resultant works are at once familiar and mysterious, mundane and sublime. These ambiguous images invite us to reconsider our perception and understanding of the world around us.

Colliding is generously supported by The Bernard Osher Foundation, the Fleishhacker Foundation, and L’imprimerie centre d’artistes.

Left: Andréanne Michon,  Matrix Pyrogravure Embossing 2  (Detail) & right:  Jennifer Brandon  , Dislocation  (Detail)

Left: Andréanne Michon, Matrix Pyrogravure Embossing 2 (Detail) & right: Jennifer Brandon, Dislocation (Detail)

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Film Sculpture Motion


Film Sculpture Motion


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Embossing


 

Time Sensitive – A Statement

 

My artistic practice involves multi-layered processes and explores volcanic and tectonic activity, and how the planet functions and evolves.

Subtle changes occur over time and are often latent and not immediately visible. They come to be recognized incrementally. Simultaneously, some shifts can be dramatic, sudden, even violent. I am interested in these variations.

Thinking about photography as the core of my artmaking practice, I have come to understand the medium as being capable of operating in parallel to the planet’s ability to transform itself. The cataclysmic forces of nature, which include cycles of destruction and creation, are similarly present in my own work, but are active at a more intimate scale.

In my growing body of work, a drawing-like image in the form of a silver gelatin print representing the outline of a carving meets a heated film sculpture in a dark chamber made of wood and black chromogenic prints. Photography also enters into a dialogue with painterly moving images & sound, and printmaking merges with ceramics. This back and forth between media and techniques is symbiotic with a meditation on the movements of the planets over time, and it inspires my interpretation of geological formations through artmaking.

Heat, pressure, erosive and chemical reactions, imprinted traces, and extremes of light and darkness are key to the photographic hybrids that I create. These phenomena are in dynamic exchange in my work and migrate seamlessly between media such as carving, printmaking, sculpture, painting and the moving image. This back and forth between processes  allows for the emergence of a different kind of visual language that supports new forms and vocabularies.

 

Embossing


 

Time Sensitive – A Statement

 

My artistic practice involves multi-layered processes and explores volcanic and tectonic activity, and how the planet functions and evolves.

Subtle changes occur over time and are often latent and not immediately visible. They come to be recognized incrementally. Simultaneously, some shifts can be dramatic, sudden, even violent. I am interested in these variations.

Thinking about photography as the core of my artmaking practice, I have come to understand the medium as being capable of operating in parallel to the planet’s ability to transform itself. The cataclysmic forces of nature, which include cycles of destruction and creation, are similarly present in my own work, but are active at a more intimate scale.

In my growing body of work, a drawing-like image in the form of a silver gelatin print representing the outline of a carving meets a heated film sculpture in a dark chamber made of wood and black chromogenic prints. Photography also enters into a dialogue with painterly moving images & sound, and printmaking merges with ceramics. This back and forth between media and techniques is symbiotic with a meditation on the movements of the planets over time, and it inspires my interpretation of geological formations through artmaking.

Heat, pressure, erosive and chemical reactions, imprinted traces, and extremes of light and darkness are key to the photographic hybrids that I create. These phenomena are in dynamic exchange in my work and migrate seamlessly between media such as carving, printmaking, sculpture, painting and the moving image. This back and forth between processes  allows for the emergence of a different kind of visual language that supports new forms and vocabularies.

 

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Silver Gelatin


Silver Gelatin


 
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Water Power Flood


Water Power Flood


 

Photographic Sculpture Box


Photographic Sculpture Box


 
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Laser Cut Embossing
 
 
 
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Film Sculpture


Film Sculpture


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Quiver Video


Quiver Video