Jennifer Georgescu

Jennifer Georgescu's work describes instinctual aspects of humanity correlating to and differing from societal structuring. With a background in painting and photographic arts, she utilizes medium format film photography, installation, and digital technology. Her projects analyze dualisms in language, relationships, mythologies and control. "I often search for the balance that exists in between these dichotomies. This is how I view humanity; always teetering on the line between fiction and reality, domination and submissiveness, self and other."

After obtaining a BFA from Watkins College of Art and Design in 2008, Georgescu was awarded a year long residency at Vanderbilt University’s "Gallery F." She has received numerous awards from Artist Portfolio Magazine, the Camera Obscura Journal of Literature and Photography and the Julia Margaret Cameron Award. Her works have recently been exhibited in the Masur Museum of Art, the Detroit Museum of New Art, and PhotoCenter NW.

Project Statement: Star Gazers

I wish I could believe that something was out there waiting for me in the cosmos. I find the thought of forever incapacitating. Then I think of the alternative; of being nothing ever again. We all have a self proclaimed importance that renders our being obsolete, impossible. This is part of what makes us human. We hold the idea of our importance despite our insignificance and mortality.

I long for a time, somewhere in the past, when it was thought that all information was just out of reach and all we had to do was find it. I feel that in present time, the more information we know, the more we realize that we’ll never know it all. We now have a vastly expanding wealth of information at our fingertips, yet we are no closer to “knowing” the most important answers.

The most wonderful idea I can think of, the thing that truly comforts me, is the possibility of time being warped beyond our current perception. I find comfort in the idea of parallel universes; where little holes allow for one world to briefly experience the next. When you make a decision in one world, an alternate decision would be made in the next, and so on. This idea has always allowed me to think that when I am gone in one world, I may continue in the next.

Star Gazers addresses the things that are hard to think about (i.e. death, mortality, insignificance) through imagination and narrative easy to be confronted with. Fiction and awe weave together antique imagery, scientific imaging, and medium format film photography to tell a farfetched tale that is factually possible. This is a story where worlds can communicate, where past and present can connect, and the cosmos contain meaning.

Triple Feature ||| FOUND

Garth Amundson & Pierre Gour

Amundson and Gour have artistically collaborated for the last 29 years. Their work explores the perceptions and politics surrounding the domestic sphere and identity. They use collage and photo-scanning techniques to speak metaphorically about social construction. Some of their work is literal collaboration, and at other times, they serve one another in a support role. They are a team who insist on producing challenging work that provokes a response.


Amundson holds an MFA from Syracuse University and Gour from the University of New Mexico. They both currently teach at Western Washington University in the Department of Art. Their work has been exhibited in South Korea, Spain, Sweden, and throughout North America. They have completed several residency programs, both independently and collaboratively; Sculpture Space in NY, Cimelice Castle near Prague, Fundación Valparaíso in Spain, Lademoen in Norway, and a Fulbright in Mexico. Recently they received a Rockefeller Foundation Residency Award and will be at The Bellagio Center in summer 2014.

Learn more about Garth&Pierre here

Garth is also coordinating the upcoming SPE-Northwest Regional Conference at WWU in Bellingham, WA on October 10, 11, &12, 2014.. The title for the conference is TRANSFIXED|TRANSMEDIA which is designed to address new definitions of photography.

The committee is looking for applications that push the boundaries of image making, image consumption, theory, and discourse in all contexts. The conference will highlight both Rodney Graham, as the keynote speaker, and Jess T. Dugan, as featured speaker.

Applications are open to virtually everything! Please pass the submission forms on to your friends and colleagues. The deadline is April 30, 2014.

https://www.spenational.org/resources/calls-for-entry/spenw-2014-conference-call-for-proposals

Project Statement 

The work itself is in keeping with the rest of our experiments with appropriation of vintage photography. In this context, we have paired turn-of-the-century studio portraits of two men into single images. Referencing the complexities of queer identity and the often convoluted morphing of two beings into a single relationship, these "couples" awkwardly hold space in an absurd and monstrous fashion. As if they were suspended trophies, the couples hang together in a strange and whimsical groupings.

Nick Schietromo

Nick Schietromo is a fine art photographer, residing in the Boston area. His work deals with various aspects of domesticity. He is a recent graduate from the New England Institute of Art and currently works as the Assistant to the Director of Gallery Kayafas in Boston, a framer at Panopticon Imaging in Rockland and an intern at the Nave Gallery in Somerville. Recent exhibitions and publications of his work include a solo show at The Nave Annex Gallery, the Flash Forward Festival 2013: Undergraduate Photography Now, Aint-Bad Magazine and Stampsy.

Project Statement 

While rummaging through shoeboxes and hand woven baskets at yard sales, I search for memories of domestic pasts via the anonymous photograph. These prized possessions, once intended to be stuck to refrigerators, thumbed through in albums with intimacy and care, are now displayed for all to pillage through in estate sales. Now void from their original context and stripped of identity, these objects exist with bent corners, faded coloring and patinas offering endless narratives. The more antique images I discover, I wonder what photographs from present day would look like in the future. Will we treat the digital decay of a photograph as fondly as a well-worn print corner or a faded and stained image in a frame? Through digital manipulation via binary code corruption of these found vernacular photographs, I am reassigning image value within a social archive. The new image creates a questioning of the societal shift from storing and exchanging analogue images to the storing and sharing of the digital files, and ones intra/interpersonal relationship to this imagery.