Marisa Kriangwiwat Holmes is one of the photographic artists shortlisted in our 2020 Exposure Award. Represented by Canadian gallery Unit 17, Holmes’ shortlisted series consists of 10 images which are a mix of photographs and found images. They are inkjet prints in editions of 10, printed on metallic pearl paper, and are available to purchase online now, discover more here. To accompany her exhibited work Holmes’ gives us a deeper insight into how she views her practice in our series Closer View. Here she ruminates on what the new boundaries of the photographic medium looks like today.
‘In response to the theme of understanding new boundaries in photography and image production within the context of today, my work leans more towards the area of image production and dissemination. My artistic practice aims to highlight the indexical semiotics embedded within media. I attempt to make work that uses the formal, compositional language of my generation, with all its image sharing and shuffling that occurs online. Considering how images are well past an abeyance, now they stand as being over saturated yet all important. I work fondly with images and hope I make them flourish. I apply layers of decoration reminiscent of the stickering of texts on Instagram as well as adorned presentation methods that become louder than the photograph itself.
‘Often working with found images as references, my artistic practice implicates a public’s subjective reception of signifiers within images. My work also hopes to dispute discourse concerning mass media exposure within our generation. I consider myself primarily as an image assembler, I hope to highlight the translation losses and accomplishments that occur when an image (as primarily a loaded index) is presented within the public sphere of an exhibition while keeping in mind all contextual circumstances: the historical time of its viewing and cultural spheres that are concurrent within the location of the images’ unveiling.
‘Cognizant that images are most often encountered via reproduction rather than in person, my process can be recognized as a re-publishing action. Organizing found images and presenting them as assemblages, I believe in the importance of lapses within the conceptual translation during an images’ presentation into varying cultural spheres and communities. My work traces how the continued production and dissemination of media function both to express and reproduce cultural power dynamics.’