01 March 2014 . Post by João Bento
Words by Laura Parker extracted from an email exchange about her work:
– ‘Canyon Suite’ is a single piece of work composed of four separate photographs printed from negatives, all floating on different planes (each photograph is mounted on aluminium and the whole is held together by a hidden substructure). In addition to being photographic, the work is sculptural, as it has physical depth.
– I have been hiking at a place called Eaton Canyon for most of my life, (I love hiking and the local mountains I grew up with; my husband and I actually just recently moved to the canyon’s edge!), so I titled the piece ‘Canyon Suite’, as it is very much about this particular place that has been so important to me; a sort of refuge from the rest of Los Angeles. Also, both a canyon and a knife have an edge, no matter how blunted, and I am indeed interested in the dangers of the everyday.
– The knife reflections was an accidental discovery made during a breakfast I was having outdoors. I saw the oak tree above reflected in my knife and forgot about breakfast! It created an interesting perceptual rift due to the double plane of focus: the knife-on-the-table itself, and the reflection coming from far away.
– A significant amount of my work has originated in and around the use of household objects: from the burners of a stove, to pot bottoms, to all sorts of cast-off domestic materials. I would say I am interested in the dangers (knives, burners, electrical appliances) and subversions of domesticity… (I really resonate with some of Mona Hatoum’s sculptural installations) but I am also interested in having something utterly mundane trigger a transcendent experience.
– I am interested in working with issues of perception and exploring ‘thresholds of visual legibility’. The writer Buzz Spector once wrote that I had “conjured up a kind of photogrammar that encourages viewers to read the process through the image. So everything from my ‘Rubbings’ to ‘Knife Reflections’ (going all the way back to ‘Prime’, 1992) plays with ways that a photograph can become a highly ambiguous object. It’s both about the nature of surface and the push/pull between two and three dimensionality.
– Also, there is an undercurrent of being obsessed with the elements of nature in all of my work. It affords us a more primal reference point that challenges the linearity of language and other human constructs.
Laura Parker lives and works in California. Laura’s career spans more than three decades and her work has been widely exhibited. To see more work made by Laura Parker please visit her website: lauraparker.com