Style and technique of the artist: Printmakers,
By arranging six large, camera-less photograms into the loose configuration of a shallow portal, Deschenes
materializes Herbert Bayer’s diagram of 360˚ field of vision from 1935. Bayer’s ring, formed by empty rectangular
surfaces, construes an “inclusive picture of all [viewpoint] possibilities.”1 In the center of the ring, the eye’s
liberated lens floats freely above the body, but remains tightly wreathed in a penumbra of vantages…
Difference is all in Liz Deschenes’s new work, which continues to explore the overlaps among visual experience, the camera and eccentric photographic processes. In this case what results is a form of nonaggressive, photo-based Op Art.
Her latest images start with an 8-by-10-inch black-and-white negative of a sheet of perforated paper photographed against a well-lighted window. The negative is duplicated and superimposed, using an enlarger, without being strictly aligned. Each of the seven 54-by-40-inch color prints made by this method has a unique moiré pattern that is low-tech yet weirdly alive.