It’s Still Life

MAIN GALLERY | 8.6.09 – 9.22.09
OPENING: FRIDAY, AUGUST 7TH, 6-8P

FEATURING WORK BY: ELAINE DUIGENAN & MEGGAN GOULD

RayKo is proud to present its first juried still life and interior space show which will feature everything from a wax Woody Allen contemplating teepees to a hundred iridescent hummingbirds frozen in time…and much, much more! The submissions have been astounding and have indeed proven, that it’s still life…amazingly so.

Elaine Duigenan (pron. ‘Dygnun’) works with objects; sometimes they are familiar items which have been discarded, other times they are the things which have been kept and valued. She places them in an environment in such a way as to effect transformation or bestow status. She is fascinated by what she has begun to term ‘intimate archaeology’. This arises out of a passion for both ‘sense of place’ and collecting/unearthing treasure. We all keep or preserve things as mementoes and Elaine is able to discover symbolism in the most mundane of objects. Her work invariably has an air of mystery and ambiguity which is often heightened when subjects are placed in a particular light or landscape.

“For me photography has become an ‘act of preservation’ and objects I focus on become the locators or igniters of memory. The traces and remnants we find in any landscape can spark recognition. They can even invoke a presence.”

Meggan Gould’s central conceptual interests within photography are considerations of vision—of how we look at the world at large, as well as how we customarily employ photography to document and speak to our surroundings. She asks the questions what do we look at photographically, and what do we ignore? Gould’s recent work, Verso, looks to probe the tension between what conventionally constitutes a picture space and the underlying factors, textual or otherwise, that work to reinforce and define that space. These stark images allow a glimpse of the backs of photographs—gleaned from her family’s visual history as well as from anonymous, found photographic collections.

This body of work began with hours spent sifting through boxes of slides and paper photographs, inherited from her grandparents. She was initially frustrated at the distinct lack of clues, of tangible names or dates, on most of the images – glue marks indicating only that they had once had a place in a photo album, yellowing paper meant yet another image would forever remain enigmatic. Meggan began to look at other photographs and the recto/verso interactions more closely. In stark contrast, her mother’s collection with full names, exact dates, and relevant family event information —more closely resembles a scientific collection than a treasury of beloved images. Meggan expanded her search/quest to flea markets, antique stores… what could the albums and loose photographs, gleaned from the histories of other families, unknown and unknowable, add to this underbelly of visual history?