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Virginia Inés Vergara
updated: 10/11/2012
website: http://www.fordproject.com/artists/virginia-ins-vergara
 
   
 
 
     
 
Artwork Title
art-medium
art-year
dimensions
Click thumbnails for full view:
 
Glass-scape VII
Installation. Glass-scapes. Model Theories
Glass-scapes X
Glass-scapes II
Glass-scapes III
Glass-scapes IV
Glass-scape V
Glass-scape VIII
Installation view. Model Theories.
Glass-scape 11X
Glass-scape 1X
Glass-scape IX
Glass-scape X1
Glass-scape X11I
 
 
Portfolio Keywords:  historical
 
 
Glass-scape VII by Virginia Inés Vergara
Glass-scape VII
c-print
Summer 2012
30 " x  32 " 
Installation. Glass-scapes. Model Theories by Virginia Inés Vergara
Installation. Glass-scapes. Model Theories
Installation view
Summer 2012
Dimensions variable
Glass-scapes X by Virginia Inés Vergara
Glass-scapes X
c- print
Summer 2012
32 " x  32 " 
Glass-scapes II by Virginia Inés Vergara
Glass-scapes II
c- print
Summer 2012
30" x  32" 
Glass-scapes III by Virginia Inés Vergara
Glass-scapes III
c- print
Summer 2012
30" x  32" 
Glass-scapes IV by Virginia Inés Vergara
Glass-scapes IV
c- print
Summer 2012
30" x  32" 
Glass-scape V by Virginia Inés Vergara
Glass-scape V
c-print
Summer 2012
30 " x  32" 
Glass-scape VIII by Virginia Inés Vergara
Glass-scape VIII
c-print
Summer 2012
30 " x  32" 
Installation view. Model Theories. by Virginia Inés Vergara
Installation view. Model Theories.
Installation
Summer 2012
Dimensions variable
Glass-scape 11X by Virginia Inés Vergara
Glass-scape 11X
c-print
Summer 2012
30 " x  32" 
Glass-scape 1X by Virginia Inés Vergara
Glass-scape 1X
c-print
Summer 2012
30 " x  32" 
Glass-scape IX by Virginia Inés Vergara
Glass-scape IX
c-print
Summer 2012
3o" x  32" 
Glass-scape X1 by Virginia Inés Vergara
Glass-scape X1
c-print
Summer 2012
30" x  32" 
Glass-scape X11I by Virginia Inés Vergara
Glass-scape X11I
c-print
Summer 2012
30" x  32" 

Artist Statement


The set-up involves three different cameras, but there is no film in the first two cameras—they function as viewing devices.  First, I set up a large-format (4 X 5 inch) camera on a tripod in front of the diorama. Then, I hold a Hasselblad camera in front of the viewfinder of the first camera so that I can see what “it” is seeing-in other words it is once removed from the diorama, which immediately makes the scene itself appear more two-dimensional. The target feature of the Hasselblad viewfinder is visible at this stage.  The crosshairs makes me feel like a hunter, and I wanted that element to remain as part of the final photograph. Thus, I then add a third camera that “looks into” the Hasselblad’s viewfinder (located on top of the camera.). I am much more committed to creating an alternate fantasy, as you so well put it, and making the images my own. When was in art school, training to be an abstract painter, I was always wary of photography. One example of a fictive environment is a movie set, which is often an otherwise lot designed and propped to look like a real place or, more recently, a scene that has been digitally conceived and produced. he Hasselblad’s viewfinder might be read as a target, hinting at the omitted focal point of the diorama. The crosshairs also signal immediately that this is a photograph—an appropriated (if manipulated) image of an existing model.  Also, conceptually speaking, the large-format camera allows me to delve deeper into the complex duality—Nnature vs. Aart—that the dioramas embody.  By playing with depth of field and focus, I can enhance the flatness of the image in a way that recalls Romantic landscape paintings. And indeed, since part of each photographed scene is a painting, my photographs play with the idea of medium specificity.


Artist Bio / CV
Virginia Inés Vergara was born and raised in NYC. After receiving her
BFA from Rhode Island School of Design and her MFA in photography from
Hunter College, she has maintained a studio practice in Brooklyn. Her
photographic work embodies meditations on light, perception and
proximity. Her work is included in numerous private European and
American collections.