Studio@620 The Studio@620

Definitions of a Complicated Atrium

An exhibit of original artwork by Travis Flack

The Studio@620 welcomes artist Travis Flack who will be exhibiting his latest series Definitions of a Complicated Atrium at the Studio@620 November 11-28, 2011.

Flack graduated from the University of North Florida in April and has been on the cusp of contemporary art since the inception of his co-created new photographic process, The Flack-Norrbom Reduction, which he will lecture on opening night of the show. This body of work is the first public exhibition of the new medium, as well as the young artist’s first career solo show.

The work itself is an eclectic mix of psychological instances, the fragility of humankind, and the familiarity of self doubt with concerns to mental instability. This evocative collection shows the deeply rooted progression of conceptual identities through representational work that are equally familiar and haunting while remaining accessible within the confines of the human construct. Flack has often voiced his opinion on the esoteric nature of contemporary photography, and plans on everyone in attendance to immediately connect with his pieces on the same personal level as he did creating them. Definitions of a Complicated Atrium occupies the Studio@620 with the same reverberating tenacity as a living, breathing human form.

Artist Statement

As an artist, I am well aware of the seemingly impossible task of translating the intangible idea to the visual form. With photography, I create images that focus as close as possible to my own thoughts and emotions as they appear real and sharp inside their own milieu. However, the fact remains that no finished product is exactly as it is rendered inside my mind, but rather characterized by a certain level of indeterminacy that guides the piece through the creative process and thus adds to the aesthetic. Whether it's straight photographs or the manipulated print, my intentions are to remain truthful to the medium by not predetermining an idea I cannot prove was original in its context. The involuntary and often visceral side of my work pulls me in new directions I find rewarding by way of the camera's ability to document and discover the situations present with flaws intact. The other side, by contrast, alters the photograph with chemistry and physical force - referencing the opaque view of the original idea as a decaying object to be experienced by the viewer accordingly. While all the pieces contain open-ended evocative stances on the subconscious memory, my goal is to share the nature of the human experience, the power of the enigmatic moment, and the effect the environment has on our lives thereof.

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