Patricia Voulgaris, Self Portrait
Throughout these images, I focused on how memories become abstracted and distorted over time. When one considers the past, their memory of a certain person or place is often fragmental, however, one can remember certain distinct qualities about an individual or a particular place. Time passes, recollections fade and become broken down into simple forms, shapes, and patterns. These forms are what hold memories together. Photographs provide people with the ability to recall a particular moment in time. But are memories stronger than photograph’s? First, I re-construct and then deconstruct personal memories. Lastly, each image becomes fragmented, similar to the nature of an old memory. My work primarily focuses on combining photography and sculpture using the human form as a platform objectively through juxtaposition, layering and context, I am interested in the deconstruction and re-contextualization of an image and the result: a manipulated hybrid. A hybrid that stresses on the importance of process that focuses on the tension between layer and surface, technology and vision. Perspectives become distorted, shapes and fragments of the human body are integrated into complicated compositions that blur the line between space, object and material. The viewer’s perception is constantly challenged in distinguishing the degrees of fabrication and authenticity of the image.
When and how did you get started in photography?
I started taking photos in my high school photography class. I was inspired by the way the camera could capture the objects and people around me. I was lucky to have a really great teacher who pushed me to pursue photography after high school.
What did photography give you?
It gave me the ability to clearly express my thoughts and vision. I became easily frustrated with other mediums and took to photography naturally. I am really interested in how I can push the boundaries of photography by combining sculptural elements.
What is it that you try to achieve with photography?
I do not have one goal that I am trying to achieve. I make photographs out of necessity.
What do you think makes a truly great image?
An image that can reveal your secrets. Concept, construction and execution are all important factors. I want to be able to look at an image and understand the artists intention.
Who were your early influences and where do you get your inspiration from today?
I am still inspired by my early influences, photographers such as Nan Goldin, Francesca Woodman, Asger Carlsen, Daniel Gordon, etc. I am inspired by how these artists are able to photograph people in such a transformative way.
What drew you to pursue a project on this subject? How did the idea come about?
My process is heavily reliant on printing existing photographs and re-photographing these images into new compositions. I wanted to translate this idea into more of a sculptural form and I was able to create a self-published book.
Do you leave any room for spontaneity or improvisation during your shoots or is every detail and shot preplanned?
The portraits that I created were planned out, that’s typically how I create my images. The collages were spontaneous.
How did your project develop and change between your start and end dates?
When I went into the studio, a new idea grew into something different. Each day I was focusing on a different project. I shifted between making collages and portraits. I didn’t really stick to a plan, I want to just go with the flow and see what I could create.
What challenges did you face in the making of this project?
Learning how to budget time in order to complete a set of images.
Has winning the Lucie Scholarship impacted your career, and if yes, how?
I am thankful that I was able to finish my series and that the Lucie Scholarship was able to provide the necessary resources in order for me to carry out and execute my ideas clearly. Without the aid of the Lucie Foundation my vision for this project would have been delayed in its completion.