Once a Literature major, Cwynar ultimately chose images over words and today — through scanning, re-photographing, and collaging — she creates tableaux and sculptural photographs from materials ranging from deconstructed
darkroom manuals to a reproduction of Picasso's Les Demoiselles d'Avignon (1907).
Sara Cwynar, Color Bars (
Darkroom Manual), 2013, Chromogenic print mounted on Plexiglas, 30 x 24 in.
Sara Cwynar, Lens (
Darkroom Manual), 2014, Chromogenic print mounted on Plexiglas, 30 x 24 in.
Sara Cwynar, Man From Contact Sheet (
Darkroom Manual), 2014, Chromogenic print mounted on Plexiglas, 30 x 24 in.
Sara Cwynar, Girl From Contact Sheet 2 (
Darkroom Manual), 2014, Chromogenic print mounted on Plexiglas, 30 x 24 in.
Not exact matches
The word itself suggests a spectrum of destinations that come to mind when thinking about a studio — there's a
darkroom, a place for
manual production, a testing ground in which different practices are carried out (they are close to each other, and he can observe the effects closely and make comparisons), a viewing space, an archive.