CLOSE TO HOME
The Bruise invited Carey MacArthur from Bluebird Photography to curate an exhibition documenting the timeless themes of family ties, home, isolation, abandonment, hope and loss.
Carey thoughtfully writes:
As photographers we inherently explore the world around us yielding a small glass lens like a weapon. We look. We see. And we try to make some sense and order of our own small worlds. Sometimes we only succeed by compelling the fragile relics of our families, all of our hidden secrets, into a composition and onto an equally fragile sheet of plastic. Those photographs in turn become new relics carrying with them their own quiet meanings and secrets that haunt and confound us. Our families are our past, present, and future, so are our photographs, the two, our closest relations.
|
Carey MacArthur
I felt a strong need to photograph my life, and while for most photographers that means recording their lives as they unfold, for me that meant remembering things that had already happened. I approached these remembrances the same way a writerwould set about a memoir, letting them shake and fight their way out of me. The resulting group of images works together as a visual poem meant to be viewed both individually and as a whole.
|
| |
Alison Whittington
This ongoing series entitled "So Long Tenderness" documents my mother's birthplace in the rural Black Belt region of Alabama, a minor place where Cadillacs and satellite dishes parked in front of shacks along the country roads are the only signs of contemporary life. The region once fertile and aristocratic is now forlorn and isolated from commerce, with no new generation to supplant an aged population. Not unlike hunting, these photographs were taken quickly and deliberately with natural light and shadows adding life to images otherwise frozen in time.
This is a personal exploration that examines my lineage through cemeteries, plantations, and hunting camps. I find capturing the abandoned and decrepit is like confronting death. The photographs are timeless with a solemn and haunting nature and a hint of movement or presence. Whether exploring my mother's dilapidated childhood home or an abandoned schoolhouse, my work is about finding spirit and capturing a dream-like reality. |
| |
Alissa Hafele
Leaving and returning to some extent are synonymous. As we leave home traveling in various directions to pursue life we often keep with us elements that ultimately pull us back to the path we started out on. It is the time in between that becomes imperative. When we begin to circle back to the beginning, the discoveries made along the journey will determine whether we find this end untouched or an altered version of the place it once was. These images are about that journey and the magic that can occur along the way. |
| |
Catharine Maloney
This project is about my family. My parents got divorced twenty-two years ago but continue to take holidays and vacations together with my brother and me. My father, almost eighty, is much older than my fifty-eight year old mother. Now that my younger brother Edward and I have left home, all four family members are in different parts of the country. These pictures are of the points we are together. |
| |
Jaime Alverez
Within a critical moment in someone's life, time is always described as irrelevent. Sometimes people don't notice it pass, other times, it passes to quickly. This series of 12 photographs (7 displayed here) alude to those certain moments of when time decieves us. For 13 months my father was fighting a battle with cancer, and through that period of documentation, I chose to redisplay these moments, as if time were passing by, but only the details remained behind.The 12 prints are Lightjets, approximately 50x42 inches, face mounted on to plexiglass. |
| |
Alexandra Batsford
|
ALL CONTENT 2007__THEBRUISE.COM
|