This installment of our Curator’s pick post – basically, a “best of” or “favorite” pick by a local curator from the works currently on view at their own institution comes to you from the staff of The Light Factory. Since 1973, The Light Factory has been a nonprofit organization committed to photography and film as a means of enriching lives and transforming communities. TLF showcases emerging and established artists in their exhibition series, exposes youth to the power of self-expression through outreach programs, and offers a variety of educational opportunities for those hoping to hone their craft.
Current “faves” come from The Light Factory’s current exhibition, the 8th Juried Annuale, a curated exhibition featuring 6 artists: Beth Hankes (Newton, MA), Chuck Hemard (Auburn, AL), Ashley Kauschinger (Columbia, SC), Alex Krajkowski (Eugene, OR), Antonio Martinez (Carbondale, IL) and Kate Shannon (Mansfield, OH). The exhibition is on view at The Light Factory through October 14.
Kay Tuttle has a degree in English from Elon University and a degree in electrical engineering from UNCC. Her passion for photography lead her to The Light Factory where she took classes and volunteered. While working at Duke Energy, Kay served on the board of TLF for a number of years, and after TLF moved to Plaza Midwood, she became the Executive Director.
Echo from Questions of Origin
large-format constructed narratives
Kay notes, “It has taken me a lifetime, but I have come to embrace being a female raised in the South. Questions of Origin captures the complexities surrounding what that means and the intricacies of the mother-daughter relationship.
TLF will be exploring the female identity throughout 2017, beginning with an exhibition in January curated by Jonell Logan called Lilith. Lilith will feature six-strong female photographer’s work from the US and abroad. Then in the Spring, work by Southern female photographers curated by Lili Corbus from the Do Good Fund will hang in the gallery.
I think Ashley’s series is a wonderful precursor to TLF’s 2017 Year of the Woman.”
Laurie Schorr grew up along Long Island Sound surrounded by car parts and cuckoo clocks. Her father was an avid photographer and shared his love of fixing cameras and spending hours in the darkroom. She specializes in traditional and experimental darkroom processes and has been teaching photography through outreach and public school systems since 2003. Laurie has received numerous grants and awards for her photographic work and teaching, including a 2016 North Carolina Arts Council Residency for Holga and medium format photography, the 2014 North Carolina Regional Artist Project Grant, finalist in 2014 PhotoLucida Critical Mass 200, the 2013 North Carolina Arts and Science Council Award, and Best Emerging Artist in Photography GLAAD OutAuction in NYC in 2009.
#3 Okaloosa County, Florida
Archival Pigment Print
Laurie notes, “I love everything about this image. The size of this print, and the manner in which it was captured with a large format camera, allows for such wonderful detail; I feel like I am about to take a run on this trail. As an avid trailrunner and someone who has spent a good amount of time in Okaloosa County, I immediately connect to the place presented. I appreciate that this photographer has taken the time to document the long leaf pine trees and the prescribed burns. There has been a lot of arguments from people who do not want the controlled burns to happen; yet it serves a beneficial purpose for the regrowth and healthy development of a delicate, and gorgeous, forest ecosystem. I am grateful for photographers like Chuck Hemard, who observe and document the beauty of nature using a classic photographic process.”
Victoria Byers is an up and coming professional artist located in the Charlotte area. In 2016, she received a BFA with a concentration in Photography, a BA in Spanish, and a minor in Art History from the University of North Carolina at Charlotte. Byers now works as the Director of Community Engagement at The Light Factory and continues to develop her own fine art practices in the fields of photography, fibers, and installation.
Untitled from Mordançage
Unique Silver Gelatin Prints
Victoria explains, “The beauty of this work is in the unpredictability and uniqueness of each print. The simplicity and repetition of the display, use of value, and shapes consistent throughout the series highlight the captivating unpredictability of the Mordançage technique. The same process is used over and over but each resulting image is distinctly different than the last. The subtle differences in contrast and veiling in each piece reveal themselves upon closer examination and draw the viewer near to the work. This intimate experience requires proximity and physical presence.”