Brie Castell
Brie Castell is the recent winner of the 2009 Idea of Self exhibition and competition at Colorado’s Center for Contemporary Photography juried by Susan Zadeh,Based in North Carolina, this self-described “mad scientist” in the darkroom uses all manner of tools, from scalpels and toners to mordancage (an arcane process dating from the late 1800s) and cyanotype to create powerful psychological portraits that reveal the self that runs deeper than the family album.
"My work is an extension of how I am feeling at the time. I do not aim to convey any social or political ideas or theories, although sometimes I know I end up doing so indirectly. I am more interested in my own personal emotions of sadness, happiness, despair, anger, elation, etcetera, being the fuel for my work. This is why I really enjoy photographing people with whom I have intimate relationships with—I am better able to tell the story of the sitter and myself whom I know, and then ultimately the image can become a visual rendition of the dynamics between us. I would have to say that the emotion of sadness is what surfaces more so than others, and I think this is mostly due to the fact that when I am sad, I mostly want to be creating imagery as a means to deal with it. I very seldom make images when I am happy!"
Brie Castell is the recent winner of the 2009 Idea of Self exhibition and competition at Colorado’s Center for Contemporary Photography juried by Susan Zadeh,Based in North Carolina, this self-described “mad scientist” in the darkroom uses all manner of tools, from scalpels and toners to mordancage (an arcane process dating from the late 1800s) and cyanotype to create powerful psychological portraits that reveal the self that runs deeper than the family album.
"My work is an extension of how I am feeling at the time. I do not aim to convey any social or political ideas or theories, although sometimes I know I end up doing so indirectly. I am more interested in my own personal emotions of sadness, happiness, despair, anger, elation, etcetera, being the fuel for my work. This is why I really enjoy photographing people with whom I have intimate relationships with—I am better able to tell the story of the sitter and myself whom I know, and then ultimately the image can become a visual rendition of the dynamics between us. I would have to say that the emotion of sadness is what surfaces more so than others, and I think this is mostly due to the fact that when I am sad, I mostly want to be creating imagery as a means to deal with it. I very seldom make images when I am happy!"
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