susana reisman
  • Portfolios
    • Tonewood, 2015/16
    • Scotland, 2016
    • Japan, 2015
    • On Technology, 2015
    • On Finishing, 2014/15
    • Standardizing Nature: Trees, Wood, Lumber (Part 1), 2013/14
    • Standardizing Nature: Trees, Wood, Lumber (Part 2), 2013/14
    • Domestic Disclosures, (On-going)
    • Berlin, 2010
    • Time Flies, 2009
    • On The Scale Of History, 2007
    • Landscapes, 2006
    • Measuring Tape, 2005
    • Mapping, 2005/06
    • Photosculptures, 2004/05
    • eBay, 2004/05
    • [Kiss], 2004
    • Plastikos, 2002/03
    • Storefronts, 1999
  • Exhibitions
  • Bio + Resume
  • Contact
  • Blog
  • Portfolios
    • Tonewood, 2015/16
    • Scotland, 2016
    • Japan, 2015
    • On Technology, 2015
    • On Finishing, 2014/15
    • Standardizing Nature: Trees, Wood, Lumber (Part 1), 2013/14
    • Standardizing Nature: Trees, Wood, Lumber (Part 2), 2013/14
    • Domestic Disclosures, (On-going)
    • Berlin, 2010
    • Time Flies, 2009
    • On The Scale Of History, 2007
    • Landscapes, 2006
    • Measuring Tape, 2005
    • Mapping, 2005/06
    • Photosculptures, 2004/05
    • eBay, 2004/05
    • [Kiss], 2004
    • Plastikos, 2002/03
    • Storefronts, 1999
  • Exhibitions
  • Bio + Resume
  • Contact
  • Blog
Photosculptures
2004-2005

View Work

Artist Statement

In the series of Photosculptures I have re-configured the framework and conditions in which we normally perceive the photographic image. It is no longer a flat representation or a ‘window onto the world’, but rather a three-dimensional sculpture.

The photograph is printed on canvas, cut into a long ribbon and coiled. I then proceed to reinterpret the image through manipulation by shaping it into a variety of forms.

As viewer’s we are confronted with the materiality of the photographic image as it becomes the object’s skin, or a surface wrapping around space. The end result is no longer a fixed, static image but rather a fragile impermanent form whose presence precedes its content.

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