Born in 1953 in Vancouver, Washington, Carolyn Krieg started exhibiting in her mid-thirties and has had over 45 solo or two person shows in the last 23 years. Krieg’s work is in several museums, including the Bibliothèque Nationale de France, Paris; Museum of Contemporary Photography, Chicago; Seattle Art Museum; University of Alaska Museum, Missoula Art Museum and Portland Art Museum. Her public projects include work for the Seattle Arts Commission and Washington State Arts Commission Art in Public Places Programs, Eastern Washington University Press, King County Public Art Program, and Seattle City Light Portable Works. Visit her website here.
Carolyn Krieg: My work is about memory—exploring it and engaging the collective memory. It is about mutations, the invisible and states of being. I start with photography and create a history with each piece — I’m thinking about the tension of opposites – and looking at things really closely seeing the miraculous of the world.
My technique in creating these works mixes media, cameras and film, beginning with my conventional chemical or digital photograph. I then make a digital file and generate a Polacolor print from it. I strip off the top layer of that print (not something Polaroid recommends because of toxic chemicals), which is a positive transparency. I can paint and draw on this transparency with photo oil and ink, as well as scratch and erase. I print on archival chromogenic paper from the transparency, using it in place of a negative in a traditional color enlarger. My steps allow for fictional gain and generational loss, similar to what happens when experience moves from perception to memory.
Text as featured on Switched-on Gutenberg Poetry Magazine, Issue 17 ‘Accidental’ – click here.