May 13, 2020 – June, 7 2020

Titled from a quote by physician and playwright Anton Checkhov, and featuring the work of two artists exploring deconstruction within a photographic process, the exhibit is visually and physically sparse, and aims to address the ways that taking things apart can result in something new. Paho Mann digitally “explodes” traditional photography film cameras, and presents large-format prints created from the result. Rebecca Aloisio creates collages from found and created imagery, digitally printed on new material that adheres directly to the gallery wall. The works of both artists encourage new ways of looking at the photographic process, and their source material while also experimenting with contemporary technique.


In Fragmented Cameras, I use a 3D scanner to scan historic and obsolete cameras from the California Museum of Photography’s collection. By using consumer grade 3D scanning tech- nology the scans often depict objects as fragmented versions of themselves, almost as if they have exploded. This becomes a metaphor for the constant transition of photographic technology and the use of new technology to comment on increasingly obsolete formats of historic image making. By allowing the 3D scans to glitch, I call attention to the way lens- based media only mediates, but never truly represents reality. 

In one aspect, the work is about the mediation of reality through technology and media – the physicality of the work offers yet another layer in this mediated experience. The exhibi- tion allows for a full cycle from object, mediated through multiple technologies back to an object again (the framed print), as a way to foster an experience and hopefully thoughts and conversation. 

Mann was born in 1978 on his parents homestead near Snowflake, Arizona. In 1992 he moved with his family to Albuquerque, New Mexico where in 2001 he received a BFA from the University of New Mexico. He received his MFA from Arizona State University in 2007. Currently, Mann lives and works in Dallas, Texas where he is an Associate Professor of Photography at the University of North Texas.


My current body of work deals with fabrication and simulacra. Through painting, collage, sculpture and printing, I pair modern technology with the hand made to generate images that are neither real nor invented. Each piece is a combination of the flat and the spatial, creating visual ten- sion emergent from what is seen as opposed to what is understood. 

This newest series is titled ‘The Untouchable Goddess”. The forms are derived from disposable and ubiquitous vessels most often used as packaging material. Found images of industrial futurism are integrated throughout, abstracting spatial continuity and surface texture. In accordance with my collage-based process, the objects themselves begin as 3-dimensional forms and are progressively flattened and remade until they are completely 2-dimensional — suspended in a state of illusionary space and subjectivity. These totems act as monuments to the ephemeral, the non-objective and the subconscious. Overall these new works aim to evoke a sense of preservation, loss and uncertainty. 

Aloisio is a professor at the School of Design of the Rochester Institute of Technology in Rochester. She holds an MFA from Syracuse University and a BFA from the Cleveland Institute of Art.