Note on the works: The Surrealists suggested that we use a map of one city to find our way around another, but really we can do nothing else. We locate ourselves with close and constant reference to memory and imagination, interpreting our surroundings according to their subjective examples. A recurrent subject of Jude Broughan’s work is that process of understanding one place, one time, one state of being through allusion to myriad alternatives. The ten works shown here include photos taken by the artist in London, New York, Los Angeles, and Miami and around New Zealand, and depict the liminal spaces of international travel, suggesting both the free-floating anxiety of dislocation and the excitement of unknown futures.
Broughan’s work employs multiple, often incongruous processes and materials, sometimes mimicking processes associated with digital graphics, such as layering and masking. The fragmented appearance that results aims to cast human idiosyncrasy in a celebratory light and reflect on sustenance and growth, fallibility and imperfection. In Kilburn, 2009, and Dusk, 2010, plastic gel supports suggest the radiant virtual space of the backlit computer screen, against which photographic images float as if caught between contexts. LAX, 2010, juxtaposes a sheet of ’80s-vintage paper with a mechanical gradient (a relic of graphic design’s “paste-up” days) with an obviously digital photographic image. The “masked” areas in the series “Morningside Miami”, 2010, are digitally produced, contributing to an ‘in-progress’ look that connotes a state of becoming and deconstructs the language and values of commercial design by suggesting a renewed and recontextualized embrace of the “raw” and organic.
[MORE]Tongariro Crossing, Ngauruhoe, and The Chateau (all 2010) are based around photographs of vintage snapshots hung in a New Zealand national park’s café. The images, in which reflections of the site are also visible, combine a commentary on the mutability of the photographic medium with an allusion to ancient history and tradition. The images’ faded colors also provide visual cues for pairings and contrasts: The peach tones and yellow highlights of the photograph in Tongariro Crossing, for example, both resonate and jar with its colored-paper ground. Ngauruhoe and The Chateau, meanwhile, resemble manic needlepoints, their overlapping stitches contrasting with the tranquil landscapes beneath.
Jude Broughan is a New Zealand-born, New York-based artist. She maintains a studio in Brooklyn and has exhibited in New York and internationally. Broughan has exhibited work at Newman Popiashvili Gallery in Chelsea, 179 Canal in Chinatown, and at d.u.m.b.o arts center (dac) and the Brooklyn Arts Council Gallery in DUMBO. She is a graduate of the School of Visual Arts and will begin an MFA at Hunter College in 2011.
The Chateau, 2010
Color photograph, thread
Naples Kennedy, 2010
Color photograph, plastic, thread
Morningside Miami (1, 2 & 3), 2010
Manipulated color photographs
Color photograph, paper, thread
Color photograph, thread
Tongariro Crossing, 2010
Color photograph, thread, paper
Color photograph, vinyl, thread