GRACE
ROWLAND
DEPARTMENT
PHOTOGRAPHY
ORIGIN
CHICAGO, IL
One etymological way of framing camouflage is “to
make up for the stage." In that stage there are two
representations: the imagery, where the materials used
to control the outcome of the image are the primary
focus; and in the installation, where the materials
become the focus of the experience, and imagery becomes
a means to complete the installation itself. The intention
is to set the stage for interaction and experience,
shaping how the work is perceived. By bringing attention
to the editing and manipulation of images, the imagery
reveals in-between moments that escape definition; the
imagery becomes a means to an end— the installation
gives a presence to camouflage that is in fact no longer
hiding; it’s revealing itself at face value.
The work itself becomes its own definition of camouflage;
and in this case, focuses on the concept of code
switching, a kind of social camouflage. The technique
is used to hide or disguise something by intentionally
making it harder to see or by changing its appearance.
Each image is manipulated and changes its behavior
by interweaving various strata of photos, drawings, and
sometimes materials to achieve the final composition.
Setting the Stage #6,
2024, Digital projection, paper, colored lights, tape, 32" x 50"
Id, Ego, Superego (detail)
2024, Inkjet print, mesh, tape, 90" x 80"
Mise en Scene #1
2024, Inkjet print, 36" x 52.5"