Trace Laminations 1 (2014)

Penelope Stewart is an artist, curator/writer and publisher whose multi-disciplinary practice encompasses expansive architectural installations/interventions, alternative photography, artist books, and works on paper. Re-current themes address notions of cultural memory, of time and space and a considered approach to the relationship between objects, architecture, gardens, landscape and the places between – places to intervene, inhabit and above all activate. Whether it has been historic sites such as Musée Barthète, a small museum in France, or a museum like the Albright-Knox Art Gallery, Buffalo, NY or the deconstruction/reconstruction of a 19 th century book of botany using cyanotype, her intentions are to create sensory spaces, haptic experiences, transforming our perceptions and possible readings of space, time and memory.

Trace Laminations (2008)

01 Limen – 12”x18” 02 Arête – 10”x12”

03 Barrow – 12”x18” 04 Brink – 10”x12”

05 Specular – 10”x12” 06 Truss – 12”x18”

07 Tread – 12”x12” 08 Arris – 12”x18”

09 Verdant – 12”x18” 10 Pergula – 12”x18”

Duraclear on glass

Trace Laminations, is a suite of photographic negatives mounted on glass. The ghost like images of the work sheds, garden huts, architectural greenhouse structures are the foundation of this series. The glass itself references the glass of the buildings and further finds meaning in the history of photography, as glass was one of the first substrates for negatives. Further, during the civil war in the US and World War I when glass was in short supply, glass negatives were re-cycled and used on greenhouses and other buildings. These images on glass revisit and suggest fleeting remnants of the past.