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Carey
began using the 20X24 in even more radical ways
in her later work, for in these pieces there is
no subject except light and the media itself.
More abstract and minimalist, this work is dominated
by vivid fields of primary color-the component
dyes used in the Polaroid 20X24 film. Tell-tale
signs of the Polaroid process, the squeegee marks
at the edges of the photographs, glossy paper
and purity of the colors are important elements
both formally and conceptually in these photographs.
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No.
48,
1995
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No.
66 & 67, 1996 |
"My
work is a departure from the picture-sign idea
of the photograph," says Carey who adds that
she likes the idea of challenging the historically
and culturally prescribed expectation that a
photograph will capture a familiar moment or
depict "reality."
"They
[the photographs] don't tell you what they are
so they leave the viewer to free-associate.
I have a special affinity for the minimalist
paintings of Agnes Martin, the conceptual art
of Sol LeWitt and the sculpture of Dan Flavin
and Donald Judd, artists whose work has a sublime
presence and a timeless eloquence."
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Carey
continually uses materials that are the tools
of photography, but as primary agents not as aids...
"in a maverick sort of way," she says. Eloquence
and inquiry are embodied in Carey's triptych #62,
#63 and #64, shown in her Degree Zero exhibition
and here. "The three Polaroid prints are the subtractive
colors in color photography-cyan, magenta and
yellow. The images are not of things, they are
pure light, and the drip underneath is the unexposed
dyes. The Polaroid materials 'inform' the process
which is one of the tenants of minimalism." |
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No.
62, 63, & 64,
1996 |
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