Prev

Joanne Leah

Next

Ina Lounguine

Artist Feature

Every week an artist is featured whose single image was published by Der Greif. The Feature shows the image in the original context of the series.

Jack Bool - One

Apr 27, 2017

The determination in your heroic effort will permeate your mind and heart even after your success or failure is long forgotten.

A boy at the Humboldt skatepark – his shirt wrapped around his belt loop, smoking a damp lumpy cigarette, red skin and pimples, a home done mo hawk dyed red, the color has begun to fade. I ask him if I could take his picture, ask him to pose, to sit on the curb and look down. He complies. The control is alluring. I take a picture of his stomach, one arm slouched across his chest, take a picture of his hair. Some guys in a pickup truck drive by whistling. He asks us for a ride – nestled tightly between Will and I, anxious sweat and puberty – I’m new here, looking for friends. We help him tighten a bolt on his skateboard, he asks will for some weed. He walks through an empty field, off behind tall brush and through the trees.

I think of my practice as having two separate but inextricably linked parts – I view myself as a collector, and an associator. As a photographer, I view images as the jumping off point – the place at which meaning starts to emerge. I am drawn to mundane environs, banal contemporary landscapes, places both nauseating and comforting – little pockets of sublime ugly. The camera has an innate ability to elevate that which is overlooked, by photographing these spaces, I declare them important. I do not limit my collecting to images I have made – I source material from brochures, manilla envelopes, twelve step pamphlets, spiritual writings, stock imagery. I strip these images from their context and through installation ascribe them with new meaning, new associations. Merry go round of Denial – vague human forms ride horses around in circles. I am interested in the failure of symbols – the discrepancy between what symbols represent and how they are interpreted. I am fascinated by the domestic context of textiles – vessels of emotional comfort. Blankets hanging on the walls in church basements: easy does it, banners in high school gymnasiums, my grandmother’s quilts. There are parallels between the domesticity of textiles, and the pictures I make – a lust towards submissive security and an embrace of rote life. While participating in this submission, it is my hopes to make work that simultaneously disrupts it through subtle gestures.