Higher Pictures presents Cubes for Albers and LeWitt the first solo New York exhibition by Jessica Eaton.
Jessica Eaton creates art in consideration of what Joseph Albers called the "discrepancy between physical fact and psychic effect". Eaton's instruments for seeing are a negotia... Read more
Higher Pictures presents Cubes for Albers and LeWitt the first solo New York exhibition by Jessica Eaton.
Jessica Eaton creates art in consideration of what Joseph Albers called the “discrepancy between physical fact and psychic effect”. Eaton’s instruments for seeing are a negotiation of perceivable reality and how photography works in order to expand the potential of a constructed photograph. The work produces an effect where a steady gaze becomes a steady haze.
The series Cubes for Albers and LeWitt explores the possibilities of manipulating time, space perception and, in particular, the additive system of color. The images are constructed on sheets of 4 × 5 film. The subject is in reality monochromatic. The photographs use a set of cubes and ground options painted white, two tones of grey, and black. Through multiple exposures, the color hues in each image have been made by exposing the film to additive primaries of red, green and blue. The reflective value of the cubes controls the value of lightness of that hue, and the black is utilized as a type of reflective mask, keeping potential on the film for other exposures. The images are completely photographic yet not visible to the naked eye. -Jessica Eaton
Jessica Eaton (b. 1977, lives in Montreal) holds a BFA in photography from the Emily Carr Institute, Vancouver. Since graduating in 2006 Eaton has exhibited regularly in group and solo shows in Canada and the United States. Her photographs have been published in numerous publications including Wallpaper; Foam; Hunter and Cook; BlackFlash; Color; Pyramid Power and Lay Flat 02: Meta among others. Artnews reproduced Eaton’s “cfaal (mb RGB) 18, 2010” on the cover of March 2011 to accompany the article, The New Photography.
