This series of photomontages in diptych form explore the manipulation and transformation of art historical facts into photographic fiction. I am interested in challenging the traditional masculine gaze of the old master paintings I photograph by dissecting the paintings into small parts and liberating the pieces from their original context. The photographic artifacts can then be re-interpreted, distorted and manipulated to produce alternative narratives.
I use the diptych format to explore the shifting nature of memory and how interpretation of information is altered by gender, context and time. The diptych as a whole offers a narrative that questions and subverts the facts of the original image, while each part a tells a different version of that newly constructed narrative. I hope the open-ended narratives of the pseudo historic images will provoke the viewer to question the medium and veracity of the image and recognize contemporary themes about conflict, anxiety, and identity.
Each diptych consists of two archival pigment prints mounted separately on 15”x20” cradled birch panels. I cover the surface of each print with layers of encaustic medium that creates a rich, luminous, and irregular surface. The wax and mounting technique provides the digitally manipulated images with a tactile and physical presence that evokes the historic artwork that inspired them.