Mirror remover on unique silver gelatin print mounted on aluminum
25 3/4 x 37 1/2 inches
Mirror remover on unique silver gelatin print mounted on aluminum
25 3/4 x 37 1/2 inches
Images, left to right: Larry Sultan, Jennifer Brandon, Whitney Hubbs, Awoiska van der Molen, David Benjamin Sherry
Reflect-ing I, 2016 (second from left)
Archival pigment print
20 x 16 inches
Mirror remover on unique silver gelatin fiber print mounted on aluminum
38 x 27.75 inches
Solarized silver gelatin prints from cliché verre of accumulated spray mount
19 1/4 x 15 1/4 inches
Archival pigment print
20 x 16 inches
Chromogenic print
72 x 43.5 inches
Series of 3 + AP
Foil III evokes the terrain of an otherworldly landscape made of thousands of tiny glass beads on an aluminum foil substrate. Tiny rainbowed glitches evidence the scanner that imaged it.
Solarized silver gelatin prints from cliché verre of accumulated spray mount
Solarized silver gelatin prints from cliché verre of accumulated spray mount
Mirror remover on unique silver gelatin fiber print
36 ½ x 27 ½ inches
Unique silver gelatin fiber print photogram from Windex
37 ½ x 30 ¼ inches
Installation view, SF Camerawork
11 x 14 inches
Silver gelatin fiber print
Mirror remover on unique silver gelatin fiber print
39 1/8 x 68 7/8 inches
10 x 10 inches
Archival pigment print of rendered silver crystals
Archival pigment print rendering micca beads on copper foam
40 x 21 inches
Unique solarized silver gelatin prints mounted on aluminum
42 x 30 inches each
🔎CLICK HERE FOR MORE EXHIBITION INFORMATION
Installation view © Phil Bond Photography
Unique silver gelatin chemi-photogram
19.5 x 36.5 inches
Unique silver gelatin chemi-photogram from Windex
20 x 24 inches
Archival pigment print rendering silver leaf
24 x 36 inches
Silverscape finds squares of silverleaf are captured midair as they sweep across the image plane. The squares themselves are odd, vulnerable forms, reflecting light and defining little but their own surface.
Archival pigment print rendering window film
20 x 28 inches
Peak I is made from a window film made to guard against light and prying eyes. This material, normally flattened and seen through, suggests a distant, unknowable vista.
Overlay I, 2017 (left)
SilverScape, 2017 (center)
Peak I, 2017 (right)
🔎CLICK HERE FOR MORE EXHIBITION INFORMATION
Installation view © Phil Bond Photography
Archival pigment print rendering Glassine
24 x 30 inches
Overlay is a whisper of an image, suggestive of a watery surface, its surface is an impression made on a sheet of glassine that protected “ReCurrents” as the fiber silver gelatin paper was pressed flat.
Silver gelatin print rendering reclaimed silver from fixative
24 x 20 inches
Reclaimed silver creates the mound at the base of Peak II. The cast off material from the making of countless analog photographs, it is re-imaged, made of and from itself. Its title plays on multiple meanings; is it mountainous, peaking into the frame or prompting the act of looking?
Leaf IV (triptych), 2016
ReCurrents (A to E), 2017
Foil III, 2015
🔎CLICK HERE FOR MORE EXHIBITION INFORMATION
Installation view © Phil Bond Photography
Archival pigment prints rendering silver leaf
30 x 21.5 inches each
Series of 7
Leaf IV evokes the terrain of an otherworldly landscape. A scanner amassed the image, built as light traced the surface of amassed silverleaves line by line.
Left to right: Fusings, 2015, Overlay I, 2017, Silverscape I, 2017, Peak I, 2017, Untitled (collage), 2017, Recollected, 2016, Untitled (collage), 2017, Peak II, 2017,
Foreground: Formations, 2018
🔎CLICK HERE FOR MORE EXHIBITION INFORMATION
Installation view © Phil Bond Photography
Digital Video, 12 minutes
Dimensions variable
Leaves of silver are set into kinetic motion: flittering squares afloat in an ‘almost-dance’ forward and back again, resting occasionally on an absent surface that causes spatial uncertainty.
Archival pigment print rendering Cinefoil
40 x 30 inches
Evoking a strange, ashen topography, Foiled II is composed of Cinefoil, broken and bent when used to obscure the camera and unwanted reflection in the making of Glistering.
Series of 7
Silver gelatin fiber print
30 x 40 inches
The surface of industrial material designed to cushion the flooring beneath us, Underlay II renders its machined banding visible across the image, giving way to what appears to be skin or bark.
Solarized photogram rendering safety glass
24 x 20 inches
Digital Video
dimensions variable
The sparkling surface of a pool of aluminum paint is activated by the environment in which it was made. The mundane activity of watching paint dry is transformed into something mesmerizing and magical.
Archival pigment prints
34 x 28 (left) and 34 x 26 (right) inches
Series of 7
Solarized photogram rendering safety glass
24 x 20 inches
(IM)MATERIEL at Headlands Center for the Arts
Curated by Kevin B. Chen
What humans are able to physically see represents only a minute fraction of the electromagnetic spectrum. But given the proper means, the invisible can become visible. (Im)materiel, guest curated by Kevin B. Chen, includes photographs, sculptures, and video installations by 18 artists whose work surveys the slippery line that divides the known/unknown, tangible/intangible, and terrestrial/extramundane.
Left to Right: Randy Colosky, Jennifer Brandon, Imin Yeh, Marshall Elliott
Silver gelatin fiber print
40 x 30 inches
Suggesting a clouded atmosphere, this large silver gelatin print of my studio wall and backdrop, covered in the reflective paint that composes Glistering, photographed just beyond focus.
Digital Video, 6 minute loop
29.5 x 20.5 x 3.75 inches
Screening III is in mesmerizing flux, its movement a response to its environment. The subtle twirl reflects the space outside the frame; every shift a record of its surroundings.
Reclaimed silver, the cast off material from the making of countless analog photographs appears to be from or of the landscape. Rather, the image is of and from its own making.
Silver gelatin fiber print
40 x 30 inches
Luminous
Installation view, Stephen Wirtz Gallery
In Luminous, a group of arts formally engage in various degrees with reflectivity, translucency, and whiteness are gathered. Each artist explores the multi-functionality of imagery through the absence of color as a way of examining the language of and crossover between abstraction and representation.
Images, left to right: Claire Collette, Andrew Witrak, Tressa Pack, Jennifer Brandon
In the Space Between, Swarm Gallery, Oakland CA
Jennifer Brandon’s photographic images consist of ephemeral forms she’s created with materials associated with protection and comfort: cushions, batting, fabrics and threads that connect them. The work is grounded in the traditions of still-life; each photograph bares physicality rich in metaphor, unveiling a relationship with the body – wads, folds and tangles. She uses photography as the medium to hold these objects up for investigation.
Archival pigment print
20 x 16 inches
Archival pigment print
30 x 24 inches
