In the Photolab Gallery September 10 to October 31, 2016
Artists' Reception Sunday September 11th 3pm to 6pm
My photographic art has always explored natural phenomena, beginning years ago with traditional landscape work. Even when showing the built environment, I emphasize the effects of time and weathering, obstruction of light, and decay of structures. Recently Iíve worked on abstract depictions of the world.
This imagery originated at oases in the Mojave Desert, small and rare spots of fertility scattered throughout the vast desert.
It shows the predominate plant in these places, the palm tree. Through manipulation of color, contrast,and tone, the original images are changed but the natural forms are not erased.
The prints show a liminal environment where identity can be difficult to ascribe, in the transition zone between depiction and abstraction.ireneimfeld.com
Since March of 2014 I've been playing with nuts and bolts using them as the subject of a photographic series called Hardware Drama.
The photographs document my exploration of what happens when bit players are allowed to lead. Construction hardware is essential in everything from the skyscrapers of Dubai, the condos of Uptown Oakland and the assembly of our mobile phones, but go unconsidered and unnoticed.
Armed with 80 pounds of nuts, bolts, washers and ball bearings, mixed with Joe Blum's insight, and Gehry's idea of fun in the journey, I've created Hardware Drama to illustrate the beauty of nuts and bolts in their own right as the subject of artistic inspiration and contemplation rather than as bit players in a tool box.
I was fascinated by hanging vines of jasmine that had penetrated an old shed where sunlight poured through a dusty window.
Returning to this location with a model we captured the intricate delicate shadows of jasmine falling upon her skin, revisiting this theme over a two year period to develop a portfolio of images that blend the fine art nude with tattoo-like shadows from vines, buds and petals
This body of work was then extended with wisteria blossoms, letting the filigree shadows of their petals fall on and compliment a model's body. White wisteria provided one end of the tonal range, leaving the midtones for the body canvas on which the shadows are painted.
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