I will have two daguerreotypes in an upcoming show at the Carnegie Museum of Art in Pittsburgh, PA – Digital to Daguerreotype: Photographs of People. The show opens June 20, 2009 at the Works on Paper Gallery. Details can be found on the Carnegie Museum of Art's web site.
One of my color zoneplate works, Holding My Breath, is featured in the new thrid edition of Robert Hirsch's Photographic Possibilities. I’m feeling flattered, as it takes up a full page image on page 70. Robert is doing great things for the alternative process community, and I encourage you to pick up a copy!
I will be curating a show at CMU’s Frame Gallery, opening Friday December 5:
I will have a piece in The Texas Photographic Society's show, Alternative Process: A Traveling Exhibit, juried by Christopher James. This show will travel the state of Texas for two years.
There will be a piece of mine on display at the Robert Morris University Media Arts Gallery, as part of their RMU Photography Invitational and the Society for Photographic Education Mid-Atlantic Conference. Work will be on display through December 5, 2008.
Photographer Elizabeth Raymer Griffin works with the self-portrait as a vehicle for personal examination. She received her MFA in photography from Indiana University in 2006 and her BA from Columbia College Chicago in 2003. She taught as an adjunct instructor at Carnegie Mellon University in Pittsburgh, Pennsylvania for a decade.
She is currently living in Ottawa, Ontario with her husband, Matt, and their son, Argus.
I am concerned with breaking patterns. In my work, I explore personal pathologies, both inherited and invented. I spend a tremendous amount of time analyzing my motivations, tendencies, and weaknesses. Self-portraiture is a therapeutic self-examination where I play-out the process of struggling to live my life without abnormal levels of guilt, anxiety, and fear. I photograph myself as various internal characters to act out psychological meanderings, memories, intrinsic dramas and attempts at personal growth and change. I have always been aware of and reliant on the intuitive power of the self-portrait to reveal and influence my behaviors.
Many of the evocative props are tied to the interests-turned obsessions of my grandmother (collecting, but not using, sewing materials), my father (building a fully functional wooden sailboat, but never sailing it) and me (making thousands of self-portraits, most of which are kept to myself). I am attempting to make connections between our common temperaments and tendencies. Through my photographs I am trying to understand and harness these symbols of a creative life unfulfilled: a boat that lies like a rotting carcass in a shed, a stack of patterns, fabrics, and buttons in a corner of a damp basement and boxes upon boxes of unseen photographic performances.
–Elizabeth Raymer Griffin