Gwenn Thomas’ photographs of doors and windows are embedded within sculptural frames in ways that question perceptions of photographic imagery, and our experience of lived space. Her photographs of window frames, exterior and interior architectural spaces initiate portholes into the spaces within. These irregularly shaped photographic objects construct the illusion of actual windows, recalling Marcel Duchamp’s window of 1920. The illusion is assisted by the absence of glass in the framing, opening the window of the photo from the perspective of the viewer. The photographs, with the frame, are the windows themselves.
GWENN THOMAS is an artist who works and lives in New York. Her work examines how photography shapes our contemporary perception of painting. Recent museum exhibitions: 'Gwenn Thomas: Moments of Place', Point of Contact Gallery at Syracuse University, New York, 2014; 'Number 6: Flaming Creatures', Julia Stoschek Collection, Düsseldorf, Germany, 2012-13; 'Accomplices. The Photographer and the Artist Around 1970', Museum of Modern Art, Warsaw, Poland, 2011; 'Gwenn Thomas/Birgit Hein, I was a male Yvonne De Carlo', MUSAC (Museo de Arte Contemporáneo de Castilla y León), Spain, 2011; Thomas’ work is represented in major collections including The Metropolitan Museum of Art; Museum of Fine Arts, Houston; Philadelphia Museum of Art; Harvard Art Museums/Fogg Museum; Graphic Arts Collection, Princeton University Library; São Schlumberger, Paris; C.A.M. Fundação Calouste Gulbenkian, Lisbon, Portugal; and Julia Stoschek Collection, Düsseldorf, Germany. A survey of Thomas’ work was published by Charta (Milan, Italy) in 2013.
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