Kate Steciw and Letha Wilson continue to reconsider photography as a medium via digital imagery with their coinciding solo exhibitions at Galerie Christophe Gaillard in Paris.
The works collectively respond to the incorporeality of digital life breaking from the repetitive linear photographic works which were very much in style during the early aughts.
In the front gallery, Steciw’s objects morph into satin spaghetti, coiled on the gallery floor. The works are digitally altered, alluding tools of photoshop. Stewics’s digital collages hint at the new role of imagery as a material of mass production plays. The industrialization of imagery and the software used to alter that imagery replaces classical sculptural material.
Featured in the gallery’s main space are the works of Letha Wilson. Surface Moves, continues the discussion of photographic relevance. In the center of the gallery two large spherical steel pipes rest on the rippling pleats of a twenty-gauge steel print of a landscape. Wilson expounds on the narrative qualities of these tactile works, with titles such as Rabbit Ears Pass Cement Fold (Double Angle I), 2016 and California Concrete Ripple Tondo, 2016. The man-made industrial materials used in Wilson’s work next to an image of a serene landscape create a natural disruptions for the viewer. These distortions are at once natural and combative as they reveal Wilson’s reconsideration not just of the presentation of photography but of the convergence of the natural and the technological as well.