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Artist Exhibitions:
Present:
April 28 - Sept. 8, 2007:
Marie Louise, Trichet Gallery,
Wisdom House, Litchfield, CT.
Exhibit: Simply Landscapes -
Pixels and Prints.
Future:
2008 *William Boniface Art
Center, Escanaba, MI
Past:
2007 *Crafts at Lyndhurst,
Lyndhurst, NY
• *The 57th Street Art Fair,
Chicago, IL
2006
• *Flora Kirsch Beck Gallery,
Alma College
Faculty ...
Further Information
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Artist Galleries:
Coming Soon!
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Artist Reviews:
A Conversation with the
Artist:
http://www.wisdomhouse.org/vide
os/Lopez-Isnardi.html
1997 Lisa Matino, “A Life in
Photos,” Daily Telegram,
February 2, 1997
Charlotte Schmidtke, “Prof
Takes Her Work on the Road”,
The Morning Sun, February 11,
1997
1990 “From Calcutta to
Alphabet City”, Woodstock
Times, 1990.
1988 “...
Further Information
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Collections:
2001 R.K. Polk, Inc -
Automotive Intelligence
Division, Detroit, MI
Don Nice, Private
Collection
Kurt Ollmann, Private
Collection
1992 Columbus Art Museum of
Art, Columbus, OH
1988 Longwood Art Gallery,
Bronx, NY
...
Further Information
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Commissions:
Coming Soon!
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Artist Statement for C. Sandra Lopez Isnardi
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The photographic medium has captivated me since childhood. The idea that I could look through a small window and ‘capture’ a moment, which in my youth appeared as capturing the world, was one of the most fascinating and magical aspects of photography. The historical and social implication photography has on the concept of ‘reality’ coupled with the camera’s ability to record and imply simultaneously is not far removed from my youthful understanding of capturing the world. Like many artists, I have ideas I want to communicate, ghosts from the past I wish to reveal, political statements I want to make and spiritual revelations I need to express. My images are tied together not so much by the subject matter I choose, but by constantly attempting to understand the ‘language’ of the medium in relationship to other mediums and to history. Hence you will see various processes including traditional, digital, installations and printmaking methods employed in my work.
Many people try to label me as a ‘formalist’, a ‘landscape photographer’, a modernist, etc., where in reality I am not one to be ‘boxed’ in any past movement or style. I am simply looking for ways to address a particular perspective and philosophy of life in unique ways that employ whatever the photographic medium offers through its diverse processes. Regardless of the process I choose, the underlying phenomena is always photography’s unique vision of ‘realism’.
Philosophically speaking, my work usually has a dichotic feeling, juxtaposing images of life and death. I see my work as a paradox, knowing full well that where there is life, there is death and vise versa. My work stands in a creative tension between opposites and does not need to be compartmentalized or logically analyzed. When it is analyzed, it is normally done so out of left-brained Cartesian logic that disregards connections and mysticism. Like Minor White, the idea that photography can transform what it records and can become metaphor, is always a conscious reality for me. Unlike Minor White, I can use whatever process is needed to expand the medium and an idea. I also feel it is important to always consider photographic technique in conjunction with the elements and principles of design. Too often photographers speak of “f-stops,” long and short lenses, density, etc., and rarely speak of shape, line, pattern and rhythm. The merging of these vocabularies helps keep photography in the same plane as the other more traditional, less mechanical fine arts.
Digital art is a challenge to ‘photographic realism’ since it uses photographic images while taking them out of their original context, skewing the perspective or adding multi-perspectives. Digital artists are more like the painters of the past who drew scenes from various locations and rebuilt the canvas in their studios. Likewise, digital art allows photographers to use the realism of the camera while juxtaposing and ‘objectifying’ elements to create a subjective, altered reality. I find this relationship between photography and digital image-making today to be comparable to the relationship between photography and printmaking in the 1840’s.
I see printmaking playing an important part in the merger between photography and digital art since digital images are printed out on papers generally used in printmaking. That being the case, we must now concern ourselves with the paper’s surface and what the manipulation of this surface has to do with photography. This is the direction I am presently pursuing while still creating traditional B&W images. This movement back and forth between traditional and new technologies always changes my images, perspective, vision, and understanding of photography.
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