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Jessica Eaton’s Abstract Analogue Photographs

Jessica Eaton’s Abstract Analogue Photographs

December 17, 2012

By Conor Risch

Jessica Eaton Cfaal 115

Jessica Eaton Cfaal 115

© Jessica Eaton

“Cfaal 115,” 2011, a work from Jessica Eaton’s “Cubes for Albers and LeWitt,” series. Working with layers in Photoshop helped inspire her analogue work.


Working in a studio with a 4 x 5 camera, Jessica Eaton creates images that recall the Abstract Expressionist and Color Field Painting movements, but which are firmly rooted in an exploration of the ideas and possibilities of the photographic medium.

Her most-recognized series, “Cubes for Albers and LeWitt,” for which she utilizes multiple exposures of cubes to explore the layering and blending of primary colors, was recognized this year with the Hyères Photography Prize; and in 2011 with the Magenta Foundation’s Bright Spark Award and with publication in Foam magazine’s Talent Issue, among other honors. Her work is showing this month at M+B Fine Art in Los Angeles.

One of a number of artists who are pushing at the edges of the photographic medium and questioning its uses and definition, Eaton’s work has intrigued audiences by being both pleasing to look at and interesting to think about.

Some of her fans gravitated “to this idea that because I’m working on 4 x 5 film and mostly in camera, that there’s this whole analogue purist thing to it,” Eaton says. “Of course I love film,” she says, but learning Photoshop and working with layers was one of the ways she was “able to conceive” of her “Cubes” work. “I’ve always been someone who dissects things, so I started to question, ‘Well, what happens if I create a photograph in layers?’” she recalls.

To SEe MOre and REad FUrther:

via Jessica Eaton’s Abstract Analogue Photographs.