Brenda Biondo

This image is from the series “Paper Skies,” which focuses on natural light, atmospheric color and the photograph as object. Each image is created by re-photographing a folded and/or cut print of a sky image (grey clouds, blue sky or sunset close-up) in front of actual sky. (There is no post-production manipulation.) The juxtaposition of the print against the actual sky creates an abstract image that emphasizes the ambiguity between the real and the reproduced, and allows the original printed photograph to be seen in a new context as a three-dimensional geometric form. The paper on which the original image is printed transcends its role as simply a substrate for photographic imagery and becomes an active ingredient whose edges, texture and shape play a key role in the final image.

This image is from the series “Paper Skies,” which focuses on natural light, atmospheric color and the photograph as object. Each image is created by re-photographing a folded and/or cut print of a sky image (grey clouds, blue sky or sunset close-up) in front of actual sky. (There is no post-production manipulation.) The juxtaposition of the print against the actual sky creates an abstract image that emphasizes the ambiguity between the real and the reproduced, and allows the original printed photograph to be seen in a new context as a three-dimensional geometric form. The paper on which the original image is printed transcends its role as simply a substrate for photographic imagery and becomes an active ingredient whose edges, texture and shape play a key role in the final image.

This image is from the series “Paper Skies,” which focuses on natural light, atmospheric color and the photograph as object. Each image is created by re-photographing a folded and/or cut print of a sky image (grey clouds, blue sky or sunset close-up) in front of actual sky. (There is no post-production manipulation.) The juxtaposition of the print against the actual sky creates an abstract image that emphasizes the ambiguity between the real and the reproduced, and allows the original printed photograph to be seen in a new context as a three-dimensional geometric form. The paper on which the original image is printed transcends its role as simply a substrate for photographic imagery and becomes an active ingredient whose edges, texture and shape play a key role in the final image.

This image is from the series “Moving Pictures,” which looks at the photograph as an object in motion interacting with its environment over time and, in the process, literally blurring the line between what is real and what is reproduced. The images are created by quickly moving a folded and/or cut printed sky image while it is being re-photographed outside. The half-second exposure time generates amalgams in which the printed sky and the actual sky are merged, blending colors and shadows and revealing a synthesis that cannot be seen with the naked eye.

This image is from the series “Moving Pictures,” which looks at the photograph as an object in motion interacting with its environment over time and, in the process, literally blurring the line between what is real and what is reproduced. The images are created by quickly moving a folded and/or cut printed sky image while it is being re-photographed outside. The half-second exposure time generates amalgams in which the printed sky and the actual sky are merged, blending colors and shadows and revealing a synthesis that cannot be seen with the naked eye.

This image is from the series “Moving Pictures,” which looks at the photograph as an object in motion interacting with its environment over time and, in the process, literally blurring the line between what is real and what is reproduced. The images are created by quickly moving a folded and/or cut printed sky image while it is being re-photographed outside. The half-second exposure time generates amalgams in which the printed sky and the actual sky are merged, blending colors and shadows and revealing a synthesis that cannot be seen with the naked eye.

This images is from the series “Modalities,” which explores the creative process behind a photographer’s practice through re-contextualizing existing images. Because each finished piece is a digital montage composed of out-takes from the hundreds of images shot during the creation of Paper Skies and Moving Pictures, the series hints at the creative process behind a photographer’s practice by alluding to the vast number of captured images that are “rejected” by photographers in the course of editing. At the same time, the photography/painting dialogue is advanced by using the cropped out-takes as a palette of shapes and colors — geometric building blocks that are arranged into new compositions.

This images is from the series “Modalities,” which explores the creative process behind a photographer’s practice through re-contextualizing existing images. Because each finished piece is a digital montage composed of out-takes from the hundreds of images shot during the creation of Paper Skies and Moving Pictures, the series hints at the creative process behind a photographer’s practice by alluding to the vast number of captured images that are “rejected” by photographers in the course of editing. At the same time, the photography/painting dialogue is advanced by using the cropped out-takes as a palette of shapes and colors — geometric building blocks that are arranged into new compositions.

Installation shot of solo show at Goodwin Fine Art in March 2017.

Installation shot of “Paper Skies” series exhibited in a solo show at the San Diego Museum of Art in 2017.