An Artists’ Lecture Series & Reception to be held October 23, 2014 from 4 – 5:30 p.m.
"Photogenic Draw" is a group photographic exhibition displaying works by Marna Bell, Matthias Boettrich, Erin Kyle Danna, Jason Flack, Mark Larsen, Paul Pearce, Jane Soodalter and Sarah Stonefoot. This exhibition is co-curated by Naomi Figueroa '14, former Communication Studies major at Cazenovia College.
received her BFA from Pratt Institute in NYC and an MFA from Syracuse University. Photographs from “Imperfect Memories” were exhibited at Light Work in 2013. She also participated in an exhibition of self-published photography books at the SPE Northeast conference in November 2011. Her book "Hudson Past/Perfect" now appears in the artist book section of the Howard Greenberg Gallery in NYC. In 2008, her work was selected by Edward Winkleman for "The Object and Beyond" Everson Museum Biennial. She received a NYS Council of the Arts Grant, and a Ruth and Harold Chenven Foundation Award in 2012.
"In Imperfect Memories, my ongoing black and white series, chance and spontaneity characterize my shooting style, capturing fleeting moments sometimes unseen by the eye. Like dormant memories, these photographs present feelings more than actual events. My focus as a painter/photographer has taken inspiration from Surrealism, producing these somewhat disturbing, and even nightmarish, images. This series suggests that memories can change over time and that we are limited in how much of the past we can retain, retrieve or understand. These images represent narratives that are both true and half true; some dimly recalled and some almost forgotten."
Erin Kyle Danna
Erin Kyle Danna
, born in 1985, grew up in southern New Jersey and studied illustration and art history at the Rhode Island School of Design, graduating with a BFA degree in 2007. She lives in Brooklyn and has exhibited her works in the United States and Italy. From 2011-2012, Danna photographed Barcelona's Chinatown neighborhood, seeking to explore the diverse immigrant communities living in the historical Catalan barrio. Photographs from the resulting body of work have been exhibited nationally.
"I first became interested in photographing El Raval—Barcelona’s Chinatown—during a visit to the city in the summer of 2011. Yet it took me a full calendar year and a subsequent visit to finally pick up my camera. The complex, layered neighborhood is best first explored, and then processed.
"Once known for drugs and prostitution, Raval is now home to a diverse community of immigrants from Pakistan, the Phillipines, and Eastern Europe. Walking the streets, I feel connected to an undercurrent of energy that flows through its myriad narrow passageways."
Jason Flack is as Western New York as a garbage plate and Buffalo wings. Growing up outside of Rochester, NY, he started his artistic career in a deft move to avoid learning a foreign language. After receiving his BFA from SUNY Brockport, he attempted to achieve popularity by making photographic prints in a small room in his parent’s basement. He eventually took a teaching job at a small high school so he could work in a darkroom with adequate ventilation and ample floor space. After five years of working in this manner, Jason decided to go to graduate school, eventually receiving his MFA from SUNY University at Buffalo. Returning to Rochester, Jason began creating work centered on himself, his surroundings and how these two often interact. Jason currently teaches photography, video production, animation and audio classes at the Monroe Community College in Rochester, NY.
"With the onset of a dramatic change in my personal life, I began investigating myself through the use of the photographic image. Centered on the change of the four seasons, I was amazed at the way my personal feelings mirrored what was happening in the natural world.
"As winter melted to spring, I began to accept that which happened, and I began to see glimmers of hope. While my future was uncertain, this hope was the first positive feeling in my life for months.
"In Spring (self portrait), I use uprooted flowers as a surrogate for myself. The beauty and color of the flowers, combined with the violence of removal from their life source reflects my feelings of hope and uncertainty at this delicate stage in my life."
was born in Oneonta, NY in 1960 and currently lives in Norwich, NY. He works in the medium of photography, dedicated specifically to black and white images using traditional film cameras and darkroom processing by hand. He completed a BA in business management in 1985 and has worked as office manager for a property management company since that time. He has an ongoing display of work at the Broad Street Gallery in Hamilton, NY. Mark photographs near home in central NY but has recently made trips to the Owens Valley in California in pursuit of new images.
"Picturesque landscapes and historic remnants are common in upstate New York but they can be subtle. Photographing them in an original way and conveying their significance is a continual challenge and learning experience. It's rewarding if I manage to inspire appreciation for my home area and its history. Using a wooden field camera or a manual 35mm camera, all images are made on black & white film and paper processed in my darkroom. These old school methods are difficult but there’s satisfaction in physically handling the materials and creating unique handprocessed prints."
grew up in suburban, middle-class America where he was brought up to respect authority, be good and also do good. As a church-attending Eagle Boy-Scout, Pearce was on a path to become a leader. Though his career trajectory was interrupted when he was drafted into the army, he did become a leader — a Lieutenant artillery forward observer deployed to Vietnam.
Combat in Vietnam has had a lifetime effect on the artist's worldview. Pearce returned home with a camera and a challenge to enlighten about the evils of war, eventually spending over two decades working with the Syracuse Peace Council managing SPC Press and producing SPC-TV.
Pearce started teaching photography at Cazenovia College in 2001, spent 11 years teaching at SUNY Oswego and has returned to teaching at Cazenovia.
"I use my cameras to speak out about the madness in which we live. My guns are put away; my camera is my weapon. My images are two-dimensional cries for reflection, attention and action."
is a lifelong, self-taught photographic artist. Alongside a career as an occupational therapist, she continually developed her shooting abilities and refined her photographic point of view. In the past few years Soodalter has been using a macro lens to capture a perspective that speaks particularly to her creative eye and she is excited to find that she has a lot to say. She recently left her primary work to devote herself entirely to developing my art, growing her passion to a professional level. Since that time, Soodalter's work has been accepted to several shows and magazines.
"As an abstract photographer, I strive to extract the beauty and complexity in everyday objects from their connection to the real world. Using a macro lens, I create new entities from old, defining them afresh by their form, color, light, motion and energy. Currently I'm exploring a local construction site, where mundane and functional objects take on new identities, as a battered dumpster, a rusted earthmover, lettering on a truck become subjects for my camera. Hidden in the cracked, peeling and corroded surfaces of everyday weathered objects, I found a world more visually rich than I could have discovered with my naked eye."
, Assistant Professor and Program Director of Photography, joined Cazenovia College in 2013. She previously taught as a Visiting Assistant Professor in Photography & New Media at Beloit College, Wisconsin from 2008 to 2013. She received a BFA from the University of Buffalo and an MFA from Illinois State University. Her work has been shown nationally in both group and show solos at galleries including the Catherine Edelman Gallery, Wakeley Galleries, Silver Eye Center for Photography, the Center for Fine Art Photography and the Black Box Gallery.
"The objects or characters in my photographs include botanical materials and insects. Within my frame and under my control, these objects are stopped in transformation, both literally and metaphorically. Their location is often questionable and their capacity for self-motivation is ambiguous. Fluent in a secret language that's rich in mythic rawness, they crawl, creep and mimic their surroundings. Domesticated and anthropomorphized, insects obtain a poetic vitality through their relationship to the home - one that forces us to question both how we relate to the natural world and of what we imagine it to be capable."