Shawn Bush:聽Angle of Draw
Through the lens of environmental dominance and quest for unsustainable fuel sources, Angle of Draw analyzes the intersection of power and whiteness via Western America鈥檚 voracious use of its natural resources. By combining mid and early 20th- century propaganda photographs with present-day photographic interventions, this work interrogates systems that honor and recycle a white and androcentric ideology for social, political, and economic control.
The images from Angle of Draw are a mix of straight photographs and in-camera collages created from a collection of purchased negatives & prints. The acquired archives come from a White male prospector searching for gold in the American West during the early 1900s and a San Francisco Bay Area/Detroit propaganda photographer active during the 1960s and early 1970s. The visual language and lighting employed in my images reflect those from the propaganda archives to connect pivotal times of liberation and fear to social unrest. The collages use in-camera masking and multiple exposures to combined media from the collection with obsolete technologies, rudimentary hand tools, and diagrams taken from surveying manuals to develop a syntax that deconstructs the violent relationship man has with the natural environment.
Recommended for you
Through the lens of environmental dominance and quest for unsustainable fuel sources, Angle of Draw analyzes the intersection of power and whiteness via Western America鈥檚 voracious use of its natural resources. By combining mid and early 20th- century propaganda photographs with present-day photographic interventions, this work interrogates systems that honor and recycle a white and androcentric ideology for social, political, and economic control.
The images from Angle of Draw are a mix of straight photographs and in-camera collages created from a collection of purchased negatives & prints. The acquired archives come from a White male prospector searching for gold in the American West during the early 1900s and a San Francisco Bay Area/Detroit propaganda photographer active during the 1960s and early 1970s. The visual language and lighting employed in my images reflect those from the propaganda archives to connect pivotal times of liberation and fear to social unrest. The collages use in-camera masking and multiple exposures to combined media from the collection with obsolete technologies, rudimentary hand tools, and diagrams taken from surveying manuals to develop a syntax that deconstructs the violent relationship man has with the natural environment.
Artists on show
What's on nearby
