Author Archives: jolanta

Leah Oates: How did you find artists for this show, and what was the curatorial premise? Lesley A. Martin: Given that I had to basically curate this from my desk, I tried to work with ideas that are already on my mind, although I also tried to take the opportunity to do something I don’t […]

I like humoristic art, so I use this method to express my ideas. Sociology and urban anthropology are useful methods for observing humans in society. But when they try to explain the relation between human and society, logics of common language turn to become useless. This is the one of the main reasons I’ve chosen […]

There is a problem with architecture. It is always there; it is inflexible; it is wrong. The good thing about art is that it is always there; it is flexible, and it is right. As Wolfgang Weileder’s works emerge, they materialize as houses, then disappear. They don’t bully their way into existence as architecture does. […]

My work lives between the media of installation art, video installation, photography, and new media, depending on the nature of each project. In earlier artworks, I used contemporary media to reanimate sites with images of their own lost histories. More recently, in the past few years I have worked primarily with the moving image. I […]

Dual identities run deep throughout my entire body of work. I often perceive a suggestion of the other with every subject I photograph. The slip between the two spaces, along with projecting those dual identities to their creators as well as their spectators interests me the most.  For these photographs I wanted to use the […]

I am a fauxtographer. I love photography, but have no aptitude for apertures. Photocopying, that’s my medium. It’s a kind of crude photography and my favored tool for manipulating appropriated imagery. I use fashion photographs, pulp magazine pages, and art history icons from my graduate studies in ancient Greek art. Becoming Venus and Cycladic Series […]

Art history is one of the subjects I find most fascinating to work with. I am driven by the concept of questioning themes intrinsic to the history of painting, such as perception, presence, and absence—that is to say, the very essence of its raison d’etre. I use a wide range of materials and techniques, at […]