The artist created this work by combining silver gelatin photographs of body parts and then wrapping the composition in nylon fabric. The result is a multi-layered assemblage that is visually contained in the shadowbox of its walnut frame.
The physical stretching of the fabric echoes the material conditions of the dark room. It also creates negative spaces where the underlying elements are both visible and suggestively hidden. The process is akin to a photographic burlesque, revealing at the same time it conceals. In this work, the artist peels back the layers of her practice precisely in order to put them back together. Hovsepian frequently combines a cerebral exploration of the history and theory of photography with a sensual approach—emphasizing the physicality of her medium at the same time she deconstructs it.
Hovsepian uses film-based cameras and light-sensitive paper, along with various objects and her own body, to produce cerebral and sensual photographs. Her works foreground the materiality and physicality of photography by partially covering her images with construction paper and the traces of her own fingers—among other materials. Hovsepian’s work is deeply fascinated with the history and theory of photography, at the same time it deconstructs the medium.
Sheree Hovsepian was born in Iran in 1974. She received an MFA from the School of the Art Institute of Chicago in Illinois in 2002, as well as a dual BFA/BA from the University of Toledo in Ohio in 1999. She studied at The Glasgow School of Art in Scotland in 1998.
Solo and two-person exhibitions of Hovespian’s work include: Sheree Hovsepian and Paul Mpagi Sepuya at Team Gallery in Los Angeles, California (2019); The Altogether. at Monique Meloche in Chicago, Illinois (2018); Halsey McKay Gallery in East Hampton, New York City (2017); Higher Pictures in New York City (2017); Soft Landing at Centre for Contemporary Photography in Toronto, Canada (2014); The Whole Other, with Konrad Wyrebek, at Kristin Hjellegjerde in London, UK (2015); Domes at Bischoff/Weiss Gallery in London, UK (2013); Column at Etemad Gallery in Dubai, UAE (2012); West Street Gallery in New York City (2010); and Portraits of Young Jewish Women at the Spertus Museum in Chicago, Illinois (2009).
Group exhibitions that have shown Hovsepian’s work include: In the Eye of the Beholder at Tarble Arts Center in Charleston, Illinois (2018); and Out of Easy Reach at Stony Island Arts Bank in Chicago, Illinois (2018); which traveled to Grunwald Gallery in Indianapolis, Indiana (2018).
Hovsepian has been featured in: Artforum; Hyperallergic; Garage Magazine; The New Yorker; The Creator’s Project; OSMOS Magazine; W Magazine; NY Arts Magazine; FLAUNT; The Photography Post; and The Miami Rail; among others.
Hovsepian’s work is in the permanent collections of: the Guggenheim Museum; the Bronx Museum; the Studio Museum in Harlem; The Art Institute of Chicago; the Spertus Museum Chicago; and the Zabludowicz Collection London.
Hovsepian lives and works in New York City.
The artist created this work by combining silver gelatin photographs of body parts and then wrapping the composition in nylon fabric. The result is a multi-layered assemblage that is visually contained in the shadowbox of its walnut frame.More
- Framed: 25.5 x 21.5 x 3.5 in.