Polly chandler biography

However, maybe this is just my decipherment of her unique photographic code. Each photograph represents a moment in time of the artist's life that helped her process a confusing changing world with the chemicals of instant film. Some are more forceful than others. I am seeking to explore those identifiable instances that seem to slow time, and through my photographs, share the understanding of these moments.

Polly chandler biography

Before you dive into our interview with her and view more of her series, go listen to this playlist of Tom Waits to get into her headspace behind the creation of these images. I will pluck out a single line, usually, that I can relate to and visualize it into my interpretation of my remembered reality. Michael Behlen: Our original interview first took place in What has changed in your world?

How has been to you? Polly Chandler: Since the start of the Pandemic, time has revealed itself to be full of trickery. At times life inside a pandemic moves in long lulls of confusion, endless stretches of introspection and boredom interspersed with sudden, loud, spurts of information and fear. In the end I'm left unsure of who or what to trust.

The years prior to was a similar series of moments for me, sometimes seemingly meaningless and sometimes quietly prolific. But undoubtedly, overwhelming. MB: Do you have any Type 55 left and are you still making work for this series? PC: I rarely photograph anymore, even though I have plenty of my favorite film stock, Polaroid Type When I discovered photography years ago, it was as if I found my voice.

I find it difficult to articulate or express myself verbally, and traditional photography allowed me to cultivate my imagination, creativity, and storytelling in a way that other folks could relate to, creating a connection between me and the observer. I love trying to puzzle together a complex and intricate narrative into one single film-frame. My photographs are small vignettes into my life experiences and my emotional journey.

I'm looking for a connection through my work. If I managed to move anyone, or evoke some sort of emotion in my photographs, then I've succeeded. MB: How has the landscape of the photography world changed for you since the last time we spoke? PC: In this time of technology I fear there aren't many places left for an aging, analog film-lover.

I can appreciate the massive benefits of the tech-era, but mostly I feel there are so many "voices" talking at once, that it's impossible to hear anything at all but noise. Curiosity and dedication to skill seems to be replaced by filters, apps and instant gratification. But maybe I'm wrong. I hope I am wrong. But, again, as we progress into a digital-only world, I find myself less and less inspired.

Everything is starting to sound and look the same. Autotune, Facetune, Photoshop etc. Trying to share art in the world today feels like trying to sing Amazing Grace in the middle of a riot. Nobody is listening, and if someone did happen to hear, does it even matter? A little voice inside me suspects it does matter. But, for now, I'll simply try to quiet my mind while the world seems to spin out of control.

And maybe when the dust settles, just maybe, I'll have a hankerin' to pick up my large format camera, dust off the ol' imagination and get back to work. I also love Geek Love by Katherine Dunn. How do you approach the creative process? Photography is like a relationship for me in that it grows stronger in time, I try to cultivate it and work on it even when times are hard.

I think about it all the time and there are times when an idea comes naturally and other times when I have to put a lot of effort into it. What's that beautiful melody? I really enjoy silk-screening and I think I would like to try film at some point. I think cinema and photography go hand-in-hand. Posted by Siouxfire at Labels: image , interview , photography.

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