Handless Operative    Installation view, Casemore Kirkeby  Images, left to right: Larry Sultan, Jennifer Brandon, Whitney Hubbs, Awoiska van der Molen, David Benjamin Sherry    Reflect-ing I , 2016 (second from left)  Archival pigment print 20 x 16 inches

Handless Operative

Installation view, Casemore Kirkeby

Images, left to right: Larry Sultan, Jennifer Brandon, Whitney Hubbs, Awoiska van der Molen, David Benjamin Sherry

Reflect-ing I, 2016 (second from left)

Archival pigment print
20 x 16 inches

   Jennifer Brandon & Andréanne Michon: Colliding    Installation view, SF Camerawork   Dilations , 2019  Solarized silver gelatin prints

Jennifer Brandon & Andréanne Michon: Colliding

Installation view, SF Camerawork

Dilations, 2019

Solarized silver gelatin prints

  Dilation XV , 2019  19 1/4 x 15 1/4 inches  Solarized silver gelatin print

Dilation XV, 2019

19 1/4 x 15 1/4 inches

Solarized silver gelatin print

   Jennifer Brandon & Andréanne Michon: Colliding    Installation view, SF Camerawork   Dilations,  2019  Solarized silver gelatin prints

Jennifer Brandon & Andréanne Michon: Colliding

Installation view, SF Camerawork

Dilations, 2019

Solarized silver gelatin prints


  Dispersions  toy with the conceit that a photograph is a mirror. Both bodily and otherworldy, each composition is rendered visible by the pushing and pulling of the paper’s embedded silver through the application of mirror remover intended for the restoration of traditional mirrors. It both extracts the  silver drop by drop and pushes it around its surface; when left unfixed, the chemical undergoes an exposure of its own shifting tone and darkening slowly over time.   Dispersion  III  Mirror remover on unique silver gelatin fiber print  36 ½ x 27 ½ inches

Dispersions toy with the conceit that a photograph is a mirror. Both bodily and otherworldy, each composition is rendered visible by the pushing and pulling of the paper’s embedded silver through the application of mirror remover intended for the restoration of traditional mirrors. It both extracts the silver drop by drop and pushes it around its surface; when left unfixed, the chemical undergoes an exposure of its own shifting tone and darkening slowly over time.

Dispersion III

Mirror remover on unique silver gelatin fiber print

36 ½ x 27 ½ inches

   Jennifer Brandon & Andréanne Michon: Colliding    Installation view, SF Camerawork   Dilations  (left), 2019   Dispersion III  (right), 2019

Jennifer Brandon & Andréanne Michon: Colliding

Installation view, SF Camerawork

Dilations (left), 2019

Dispersion III (right), 2019

  Equivalent I , 2019  Unique silver gelatin fiber print  37 ½ x 30 ¼ inches

Equivalent I, 2019

Unique silver gelatin fiber print

37 ½ x 30 ¼ inches

   Jennifer Brandon & Andréanne Michon: Colliding    Installation view, SF Camerawork   Foam II , 2017  11 x 14 inches  Silver gelatin fiber print

Jennifer Brandon & Andréanne Michon: Colliding

Installation view, SF Camerawork

Foam II, 2017

11 x 14 inches

Silver gelatin fiber print

  Dispersions  toy with the conceit that a photograph is a mirror. Each composition is rendered visible by the pushing and pulling of the paper’s embedded silver through the application of mirror remover intended for the restoration of traditional mirrors. It both extracts the  silver drop by drop  and  pushes it around its surface; when left unfixed, the chemical undergoes an exposure of its own shifting tone and darkening slowly over time.   Dispersion II , 2019  Mirror remover on unique silver gelatin fiber print  39 1/8 x 68 7/8 inches

Dispersions toy with the conceit that a photograph is a mirror. Each composition is rendered visible by the pushing and pulling of the paper’s embedded silver through the application of mirror remover intended for the restoration of traditional mirrors. It both extracts the silver drop by drop and pushes it around its surface; when left unfixed, the chemical undergoes an exposure of its own shifting tone and darkening slowly over time.

Dispersion II, 2019

Mirror remover on unique silver gelatin fiber print

39 1/8 x 68 7/8 inches

   Jennifer Brandon & Andréanne Michon: Colliding    Installation view, SF Camerawork   Dispersion III  (left), 2019  Silverscapes (right), 2019

Jennifer Brandon & Andréanne Michon: Colliding

Installation view, SF Camerawork

Dispersion III (left), 2019

Silverscapes (right), 2019


  Dispersion III  (detail), 2019  Mirror remover on unique silver gelatin fiber print  39 1/8 x 68 7/8 inches

Dispersion III (detail), 2019

Mirror remover on unique silver gelatin fiber print

39 1/8 x 68 7/8 inches

  Sphere , 2018  10 x 10 inches  Archival pigment print

Sphere, 2018

10 x 10 inches

Archival pigment print

The bubbling and sparkling surface of a pool of aluminum paint is activated by manipulation from beneath.

Glistering II, 2015
Digital Video
dimensions variable

  Foam X , 2018  Archival pigment print  40 x 21 inches

Foam X, 2018

Archival pigment print

40 x 21 inches

   ReCurrent II   (c, 2017) evokes an internal activity in flux. Each print was made with packaging foam, its solarization dependent on my physical relationship to the developing image.  Unique solarized silver gelatin print  16 x 20 inches

ReCurrent II (c, 2017) evokes an internal activity in flux. Each print was made with packaging foam, its solarization dependent on my physical relationship to the developing image.

Unique solarized silver gelatin print
16 x 20 inches

   Jennifer Brandon & Jay DeFeo: Photographic Works    Installation, Mills College Art Museum    ReCurrents   (a-e) evoke an internal activity in constant flux. Each print was made with packaging foam, its solarization dependent on my physical relationship to the developing image.  Unique solarized silver gelatin prints 42 x 30 inches each

Jennifer Brandon & Jay DeFeo: Photographic Works

Installation, Mills College Art Museum

ReCurrents (a-e) evoke an internal activity in constant flux. Each print was made with packaging foam, its solarization dependent on my physical relationship to the developing image.

Unique solarized silver gelatin prints
42 x 30 inches each

   Froth I  , 2017  Unique silver gelatin chemi-photogram  19.5 x 36.5 inches

Froth I, 2017

Unique silver gelatin chemi-photogram

19.5 x 36.5 inches

   Wane I,   2017  Unique silver gelatin chemi-photogram  20 x 24 inches

Wane I, 2017

Unique silver gelatin chemi-photogram

20 x 24 inches

   Silverscape I   (2017) finds squares of silverleaf are captured midair as they sweep across the image plane.  The squares themselves are odd, vulnerable forms, reflecting light and defining little but their own surface.   Archival pigment print  24 x 36 inches

Silverscape I (2017) finds squares of silverleaf are captured midair as they sweep across the image plane.

The squares themselves are odd, vulnerable forms, reflecting light and defining little but their own surface.

Archival pigment print
24 x 36 inches

   Peak I    (2017)  is made from a window film made to guard against light and prying eyes. This material, normally flattened and seen through, suggests a distant, unknowable vista.  Archival pigment print  20 x 28 inches

Peak I (2017) is made from a window film made to guard against light and prying eyes. This material, normally flattened and seen through, suggests a distant, unknowable vista.

Archival pigment print
20 x 28 inches

   Overlay I   (2017) is a whisper of an image, suggestive of a watery surface, its surface is an impression made on a sheet of glassine that protected “ReCurrents” as the fiber silver gelatin paper was pressed flat.   Archival pigment print 24 x 30 inches

Overlay I (2017) is a whisper of an image, suggestive of a watery surface, its surface is an impression made on a sheet of glassine that protected “ReCurrents” as the fiber silver gelatin paper was pressed flat.

Archival pigment print
24 x 30 inches


   Jennifer Brandon & Jay DeFeo: Photographic Works    Installation, Mills College Art Museum, left to right:   Overlay I, 2017    SilverScape,  2017   Peak I,  2017

Jennifer Brandon & Jay DeFeo: Photographic Works

Installation, Mills College Art Museum, left to right:

Overlay I, 2017

SilverScape, 2017

Peak I, 2017


 Reclaimed silver creates the mound at the base of   Peak II   (2017) .  The cast off material from the making of countless analog photographs, it is re-imaged, made of and from itself. Its title plays on multiple meanings; is it mountainous, peaking into the frame or prompting the act of looking?  Silver gelatin print  24 x 20 inches

Reclaimed silver creates the mound at the base of Peak II (2017). The cast off material from the making of countless analog photographs, it is re-imaged, made of and from itself. Its title plays on multiple meanings; is it mountainous, peaking into the frame or prompting the act of looking?

Silver gelatin print
24 x 20 inches

   Jennifer Brandon & Jay DeFeo: Photographic Works    Installation, Mills College Art Museum, left to right:   Leaf IV  (triptych), 2016   ReCurrents  (A to E), 2017   Foil III,  2015

Jennifer Brandon & Jay DeFeo: Photographic Works

Installation, Mills College Art Museum, left to right:

Leaf IV (triptych), 2016

ReCurrents (A to E), 2017

Foil III, 2015


   Jennifer Brandon & Jay DeFeo: Photographic Works    Installation, Mills College Art Museum  Left to right:  Fusings , 2015,  Overlay I,  2017,  Silverscape I,  2017,  Peak I , 2017,  Untitled (collage),  2017,  Recollected,  2016,  Untitled (collage),  2017,  Peak II,  2017  Foreground:  Formations , 2018

Jennifer Brandon & Jay DeFeo: Photographic Works

Installation, Mills College Art Museum

Left to right: Fusings, 2015, Overlay I, 2017, Silverscape I, 2017, Peak I, 2017, Untitled (collage), 2017, Recollected, 2016, Untitled (collage), 2017, Peak II, 2017

Foreground: Formations, 2018

   Leaf IV   (triptych, 2016) evokes the terrain of an otherworldly landscape. A scanner amassed the image, built as light traced the surface of amassed silverleaves line by line.  Chromogenic print 30 x 21.5 inches each

Leaf IV (triptych, 2016) evokes the terrain of an otherworldly landscape. A scanner amassed the image, built as light traced the surface of amassed silverleaves line by line.

Chromogenic print
30 x 21.5 inches each

Blown (2016) sets leaves of silver in kinetic motion: flittering squares afloat in an ‘almost-dance’ forward and back again, resting occasionally on an absent surface that causes spatial uncertainty.

Digital Video, 12 minutes
dimensions variable


   Foiled II   (2016) evokes a strange, ashen topography. It is composed of Cinefoil, broken and bent when used to obscure the camera and unwanted reflection in the making of  Glistering .  Archival pigment print Up to 96 x 127 inches

Foiled II (2016) evokes a strange, ashen topography. It is composed of Cinefoil, broken and bent when used to obscure the camera and unwanted reflection in the making of Glistering.

Archival pigment print
Up to 96 x 127 inches

 The surface of industrial material designed to cushion the flooring beneath us,   Underlay II   (2017) renders its machined banding visible across the image, giving way to what appears to be skin or bark.  Silver gelatin fiber print 30 x 40 inches

The surface of industrial material designed to cushion the flooring beneath us, Underlay II (2017) renders its machined banding visible across the image, giving way to what appears to be skin or bark.

Silver gelatin fiber print
30 x 40 inches

   Fusings   are solarized photograms made with safety glass that was repeatedly broken and flipped as the image was exposed. Trace ruptures in the surface of the image are visible, physical evidence of their making.    Fusing VII   ,  (2015)  Solarized photogram  24 x 20 inches

Fusings are solarized photograms made with safety glass that was repeatedly broken and flipped as the image was exposed. Trace ruptures in the surface of the image are visible, physical evidence of their making.

Fusing VII, (2015)

Solarized photogram
24 x 20 inches

In Glistering I (2014) the sparkling surface of a pool of aluminum paint is activated by the environment in which it was made. The mundane activity of watching paint dry is transformed into something mesmerizing and magical.

Digital Video
dimensions variable

   Fusings   are solarized photograms made with safety glass that was repeatedly broken and flipped as the image was exposed. Trace ruptures in the surface of the image are visible, physical evidence of their making.    Fusing V   ,  (2015)  Solarized photogram  24 x 20 inches

Fusings are solarized photograms made with safety glass that was repeatedly broken and flipped as the image was exposed. Trace ruptures in the surface of the image are visible, physical evidence of their making.

Fusing V, (2015)

Solarized photogram
24 x 20 inches

   Reflect-ing I   (2016) the apparatus of memory itself, my photographs act as indexes: documents of and from their own making, generated via an active process of transformation.  Archival pigment print 10 x 8 inches

Reflect-ing I (2016) the apparatus of memory itself, my photographs act as indexes: documents of and from their own making, generated via an active process of transformation.

Archival pigment print
10 x 8 inches

   Foil   III     (2015) evokes the terrain of an otherworldly landscape. The scanner light that imaged its surface, traced through thousands of tiny glass beads, bouncing off of the aluminum foil substrate they're adhered to. The resulting surface reflects back on the scanner, evidence of its making in the tiny rainbowed glitches covering its surface.   Chromogenic print 72 x 43.5 inches

Foil III (2015) evokes the terrain of an otherworldly landscape. The scanner light that imaged its surface, traced through thousands of tiny glass beads, bouncing off of the aluminum foil substrate they're adhered to. The resulting surface reflects back on the scanner, evidence of its making in the tiny rainbowed glitches covering its surface.


Chromogenic print
72 x 43.5 inches

 Plastic drop cloths are reformed into   Casts     plainly thrown into the image frame. This thin membrane usually lies in stasis to protect surfaces from accumulations over a span of time. In my hands, the material is animated, evoking the gesture of the hand that threw it.   Cast III  and  X,  2014  Archival pigment prints 34 x 28 (left) and 34 x 26 (right) inches

Plastic drop cloths are reformed into Casts plainly thrown into the image frame. This thin membrane usually lies in stasis to protect surfaces from accumulations over a span of time. In my hands, the material is animated, evoking the gesture of the hand that threw it.

Cast III and X, 2014

Archival pigment prints
34 x 28 (left) and 34 x 26 (right) inches

 Plastic drop cloths are reformed into   Casts     plainly thrown into the image frame. This thin membrane usually lies in stasis to protect surfaces from accumulations over a span of time. In my hands, the material is animated, evoking the gesture of the hand that threw it.    Cast XIII  , 2014 Archival pigment print 34 x 25 inches

Plastic drop cloths are reformed into Casts plainly thrown into the image frame. This thin membrane usually lies in stasis to protect surfaces from accumulations over a span of time. In my hands, the material is animated, evoking the gesture of the hand that threw it.

Cast XIII, 2014
Archival pigment print
34 x 25 inches

   Stratum I   (2016) suggests a clouded atmosphere; however, this large silver gelatin print of my studio wall and backdrop, covered in the reflective paint that composes   Glistering  , photographed just beyond focus.   Silver gelatin fiber print 40 x 30 inches

Stratum I (2016) suggests a clouded atmosphere; however, this large silver gelatin print of my studio wall and backdrop, covered in the reflective paint that composes Glistering, photographed just beyond focus.

Silver gelatin fiber print
40 x 30 inches

Screening III (2013) is in mesmerizing flux, its movement a response to its environment. The subtle twirl reflects the space outside the frame; every shift a record of its surroundings.

Digital Video, 6 minute loop
29.5 x 20.5 x 3.75 inches

   Recollection III   (2016) appear to be from or of the landscape. The material gathered is reclaimed silver, the cast off material from the making of countless analog photographs. These photographs are documents of and from their own making, generated via an active process of transformation.  Silver gelatin fiber print 40 x 30 inches

Recollection III (2016) appear to be from or of the landscape. The material gathered is reclaimed silver, the cast off material from the making of countless analog photographs. These photographs are documents of and from their own making, generated via an active process of transformation.

Silver gelatin fiber print
40 x 30 inches

   Screens   are made from a window film made to guard against light and prying eyes. This material, normally flattened and seen through, is gathered up and suspended; the photograph reveals its surface to be resistant and permeable at once.    Screen I  (2013)  Chromogenic Print 40 x 37 inches

Screens are made from a window film made to guard against light and prying eyes. This material, normally flattened and seen through, is gathered up and suspended; the photograph reveals its surface to be resistant and permeable at once.


Screen I (2013)

Chromogenic Print
40 x 37 inches

  Luminous   Installation view, Stephen Wirtz Gallery  In Luminous, a group of arts formally engage in various degrees with reflectivity, translucency, and whiteness are gathered. Each artist explores the multi-functionality of imagery through the absence of color as a way of examining the language of and crossover between abstraction and representation.  Images, left to right: Claire Collette, Andrew Witrak, Tressa Pack, Jennifer Brandon

Luminous

Installation view, Stephen Wirtz Gallery

In Luminous, a group of arts formally engage in various degrees with reflectivity, translucency, and whiteness are gathered. Each artist explores the multi-functionality of imagery through the absence of color as a way of examining the language of and crossover between abstraction and representation.

Images, left to right: Claire Collette, Andrew Witrak, Tressa Pack, Jennifer Brandon

   Screens   are made from a window film made to guard against light and prying eyes. This material, normally flattened and seen through, is gathered up and suspended; the photograph reveals its surface to be resistant and permeable at once.   Screen V, 2013  Chromogenic Print 40 x 39 inches

Screens are made from a window film made to guard against light and prying eyes. This material, normally flattened and seen through, is gathered up and suspended; the photograph reveals its surface to be resistant and permeable at once.


Screen V, 2013

Chromogenic Print
40 x 39 inches

   In the Space Between , Swarm Gallery, Oakland CA   Jennifer Brandon’s photographic images consist of ephemeral forms she’s created with materials associated with protection and comfort: cushions, batting, fabrics and threads that connect them. The work is grounded in the traditions of still-life; each photograph bares physicality rich in metaphor, unveiling a relationship with the body – wads, folds and tangles. She uses photography as the medium to hold these objects up for investigation.

In the Space Between, Swarm Gallery, Oakland CA

Jennifer Brandon’s photographic images consist of ephemeral forms she’s created with materials associated with protection and comfort: cushions, batting, fabrics and threads that connect them. The work is grounded in the traditions of still-life; each photograph bares physicality rich in metaphor, unveiling a relationship with the body – wads, folds and tangles. She uses photography as the medium to hold these objects up for investigation.


 I tend to materials that protect and repair to form new things from the existing.   Accumulations  , with their soft, absorbent bodies of fiberglass, batting and string hang suspended in emptiness. Each fugitive mass pulls against and is supported by the frame’s edge, visually activated and immobilized by the photograph at once.   Accumulation I,  2011 Chromogenic print  48 x 35 inches

I tend to materials that protect and repair to form new things from the existing. Accumulations, with their soft, absorbent bodies of fiberglass, batting and string hang suspended in emptiness. Each fugitive mass pulls against and is supported by the frame’s edge, visually activated and immobilized by the photograph at once.

Accumulation I, 2011
Chromogenic print
48 x 35 inches

 Knots are felt deep in the gut, secure one thing to another. These   Knots   were wound from scraps of window curtains and threads. Each fibrous form was clumsily torn and patched together before it was encased in resin, the very stuff of memory.   Knot  IV, 2010 Chromogenic print 20 x 20 inches

Knots are felt deep in the gut, secure one thing to another. These Knots were wound from scraps of window curtains and threads. Each fibrous form was clumsily torn and patched together before it was encased in resin, the very stuff of memory.

Knot IV, 2010
Chromogenic print
20 x 20 inches

 I tend to materials that protect and repair to form new things from the existing.   Accumulations  , with their soft, absorbent bodies of fiberglass, batting and string hang suspended in emptiness. Each fugitive mass pulls against and is supported by the frame’s edge, visually activated and immobilized by the photograph at once.   Accumulation III  2011 Chromogenic print  20 x 16 inches

I tend to materials that protect and repair to form new things from the existing. Accumulations, with their soft, absorbent bodies of fiberglass, batting and string hang suspended in emptiness. Each fugitive mass pulls against and is supported by the frame’s edge, visually activated and immobilized by the photograph at once.

Accumulation III 2011
Chromogenic print 
20 x 16 inches

 I tend to materials that protect and repair to form new things from the existing.   Accumulations  , with their soft, absorbent bodies of fiberglass, batting and string hang suspended in emptiness. Each fugitive mass pulls against and is supported by the frame’s edge, visually activated and immobilized by the photograph at once.   Accumulation IV  2011 Chromogenic print  30 x 24 inches

I tend to materials that protect and repair to form new things from the existing. Accumulations, with their soft, absorbent bodies of fiberglass, batting and string hang suspended in emptiness. Each fugitive mass pulls against and is supported by the frame’s edge, visually activated and immobilized by the photograph at once.

Accumulation IV 2011
Chromogenic print
30 x 24 inches

 Knots are felt deep in the gut, secure one thing to another. These   Knots   were wound from scraps of window curtains and threads. Each fibrous form was clumsily torn and patched together before it was encased in resin, the very stuff of memory.   Knot  III, 2010 Chromogenic print 25 x 25 inches

Knots are felt deep in the gut, secure one thing to another. These Knots were wound from scraps of window curtains and threads. Each fibrous form was clumsily torn and patched together before it was encased in resin, the very stuff of memory.

Knot III, 2010
Chromogenic print
25 x 25 inches

   Handless Operative    Installation view, Casemore Kirkeby  Images, left to right: Larry Sultan, Jennifer Brandon, Whitney Hubbs, Awoiska van der Molen, David Benjamin Sherry    Reflect-ing I , 2016 (second from left)  Archival pigment print 20 x 16 inches
   Jennifer Brandon & Andréanne Michon: Colliding    Installation view, SF Camerawork   Dilations , 2019  Solarized silver gelatin prints
  Dilation XV , 2019  19 1/4 x 15 1/4 inches  Solarized silver gelatin print
   Jennifer Brandon & Andréanne Michon: Colliding    Installation view, SF Camerawork   Dilations,  2019  Solarized silver gelatin prints
  Dispersions  toy with the conceit that a photograph is a mirror. Both bodily and otherworldy, each composition is rendered visible by the pushing and pulling of the paper’s embedded silver through the application of mirror remover intended for the restoration of traditional mirrors. It both extracts the  silver drop by drop and pushes it around its surface; when left unfixed, the chemical undergoes an exposure of its own shifting tone and darkening slowly over time.   Dispersion  III  Mirror remover on unique silver gelatin fiber print  36 ½ x 27 ½ inches
   Jennifer Brandon & Andréanne Michon: Colliding    Installation view, SF Camerawork   Dilations  (left), 2019   Dispersion III  (right), 2019
  Equivalent I , 2019  Unique silver gelatin fiber print  37 ½ x 30 ¼ inches
   Jennifer Brandon & Andréanne Michon: Colliding    Installation view, SF Camerawork   Foam II , 2017  11 x 14 inches  Silver gelatin fiber print
  Dispersions  toy with the conceit that a photograph is a mirror. Each composition is rendered visible by the pushing and pulling of the paper’s embedded silver through the application of mirror remover intended for the restoration of traditional mirrors. It both extracts the  silver drop by drop  and  pushes it around its surface; when left unfixed, the chemical undergoes an exposure of its own shifting tone and darkening slowly over time.   Dispersion II , 2019  Mirror remover on unique silver gelatin fiber print  39 1/8 x 68 7/8 inches
   Jennifer Brandon & Andréanne Michon: Colliding    Installation view, SF Camerawork   Dispersion III  (left), 2019  Silverscapes (right), 2019
  Dispersion III  (detail), 2019  Mirror remover on unique silver gelatin fiber print  39 1/8 x 68 7/8 inches
  Sphere , 2018  10 x 10 inches  Archival pigment print
 The bubbling and sparkling surface of a pool of aluminum paint is activated by manipulation from beneath.  Glistering II, 2015 Digital Video dimensions variable
  Foam X , 2018  Archival pigment print  40 x 21 inches
   ReCurrent II   (c, 2017) evokes an internal activity in flux. Each print was made with packaging foam, its solarization dependent on my physical relationship to the developing image.  Unique solarized silver gelatin print  16 x 20 inches
   Jennifer Brandon & Jay DeFeo: Photographic Works    Installation, Mills College Art Museum    ReCurrents   (a-e) evoke an internal activity in constant flux. Each print was made with packaging foam, its solarization dependent on my physical relationship to the developing image.  Unique solarized silver gelatin prints 42 x 30 inches each
   Froth I  , 2017  Unique silver gelatin chemi-photogram  19.5 x 36.5 inches
   Wane I,   2017  Unique silver gelatin chemi-photogram  20 x 24 inches
   Silverscape I   (2017) finds squares of silverleaf are captured midair as they sweep across the image plane.  The squares themselves are odd, vulnerable forms, reflecting light and defining little but their own surface.   Archival pigment print  24 x 36 inches
   Peak I    (2017)  is made from a window film made to guard against light and prying eyes. This material, normally flattened and seen through, suggests a distant, unknowable vista.  Archival pigment print  20 x 28 inches
   Overlay I   (2017) is a whisper of an image, suggestive of a watery surface, its surface is an impression made on a sheet of glassine that protected “ReCurrents” as the fiber silver gelatin paper was pressed flat.   Archival pigment print 24 x 30 inches
   Jennifer Brandon & Jay DeFeo: Photographic Works    Installation, Mills College Art Museum, left to right:   Overlay I, 2017    SilverScape,  2017   Peak I,  2017
 Reclaimed silver creates the mound at the base of   Peak II   (2017) .  The cast off material from the making of countless analog photographs, it is re-imaged, made of and from itself. Its title plays on multiple meanings; is it mountainous, peaking into the frame or prompting the act of looking?  Silver gelatin print  24 x 20 inches
   Jennifer Brandon & Jay DeFeo: Photographic Works    Installation, Mills College Art Museum, left to right:   Leaf IV  (triptych), 2016   ReCurrents  (A to E), 2017   Foil III,  2015
   Jennifer Brandon & Jay DeFeo: Photographic Works    Installation, Mills College Art Museum  Left to right:  Fusings , 2015,  Overlay I,  2017,  Silverscape I,  2017,  Peak I , 2017,  Untitled (collage),  2017,  Recollected,  2016,  Untitled (collage),  2017,  Peak II,  2017  Foreground:  Formations , 2018
   Leaf IV   (triptych, 2016) evokes the terrain of an otherworldly landscape. A scanner amassed the image, built as light traced the surface of amassed silverleaves line by line.  Chromogenic print 30 x 21.5 inches each
   Blown   (2016) sets leaves of silver in kinetic motion: flittering squares afloat in an ‘almost-dance’ forward and back again, resting occasionally on an absent surface that causes spatial uncertainty.  Digital Video, 12 minutes dimensions variable
   Foiled II   (2016) evokes a strange, ashen topography. It is composed of Cinefoil, broken and bent when used to obscure the camera and unwanted reflection in the making of  Glistering .  Archival pigment print Up to 96 x 127 inches
 The surface of industrial material designed to cushion the flooring beneath us,   Underlay II   (2017) renders its machined banding visible across the image, giving way to what appears to be skin or bark.  Silver gelatin fiber print 30 x 40 inches
   Fusings   are solarized photograms made with safety glass that was repeatedly broken and flipped as the image was exposed. Trace ruptures in the surface of the image are visible, physical evidence of their making.    Fusing VII   ,  (2015)  Solarized photogram  24 x 20 inches
 In   Glistering I     (2014)   the sparkling surface of a pool of aluminum paint is activated by the environment in which it was made. The mundane activity of watching paint dry is transformed into something mesmerizing and magical.   Digital Video dimensions variable
   Fusings   are solarized photograms made with safety glass that was repeatedly broken and flipped as the image was exposed. Trace ruptures in the surface of the image are visible, physical evidence of their making.    Fusing V   ,  (2015)  Solarized photogram  24 x 20 inches
   Reflect-ing I   (2016) the apparatus of memory itself, my photographs act as indexes: documents of and from their own making, generated via an active process of transformation.  Archival pigment print 10 x 8 inches
   Foil   III     (2015) evokes the terrain of an otherworldly landscape. The scanner light that imaged its surface, traced through thousands of tiny glass beads, bouncing off of the aluminum foil substrate they're adhered to. The resulting surface reflects back on the scanner, evidence of its making in the tiny rainbowed glitches covering its surface.   Chromogenic print 72 x 43.5 inches
 Plastic drop cloths are reformed into   Casts     plainly thrown into the image frame. This thin membrane usually lies in stasis to protect surfaces from accumulations over a span of time. In my hands, the material is animated, evoking the gesture of the hand that threw it.   Cast III  and  X,  2014  Archival pigment prints 34 x 28 (left) and 34 x 26 (right) inches
 Plastic drop cloths are reformed into   Casts     plainly thrown into the image frame. This thin membrane usually lies in stasis to protect surfaces from accumulations over a span of time. In my hands, the material is animated, evoking the gesture of the hand that threw it.    Cast XIII  , 2014 Archival pigment print 34 x 25 inches
   Stratum I   (2016) suggests a clouded atmosphere; however, this large silver gelatin print of my studio wall and backdrop, covered in the reflective paint that composes   Glistering  , photographed just beyond focus.   Silver gelatin fiber print 40 x 30 inches
   Screening III   (2013) is in mesmerizing flux, its movement a response to its environment. The subtle twirl reflects the space outside the frame; every shift a record of its surroundings.  Digital Video, 6 minute loop  29.5 x 20.5 x 3.75 inches
   Recollection III   (2016) appear to be from or of the landscape. The material gathered is reclaimed silver, the cast off material from the making of countless analog photographs. These photographs are documents of and from their own making, generated via an active process of transformation.  Silver gelatin fiber print 40 x 30 inches
   Screens   are made from a window film made to guard against light and prying eyes. This material, normally flattened and seen through, is gathered up and suspended; the photograph reveals its surface to be resistant and permeable at once.    Screen I  (2013)  Chromogenic Print 40 x 37 inches
  Luminous   Installation view, Stephen Wirtz Gallery  In Luminous, a group of arts formally engage in various degrees with reflectivity, translucency, and whiteness are gathered. Each artist explores the multi-functionality of imagery through the absence of color as a way of examining the language of and crossover between abstraction and representation.  Images, left to right: Claire Collette, Andrew Witrak, Tressa Pack, Jennifer Brandon
   Screens   are made from a window film made to guard against light and prying eyes. This material, normally flattened and seen through, is gathered up and suspended; the photograph reveals its surface to be resistant and permeable at once.   Screen V, 2013  Chromogenic Print 40 x 39 inches
   In the Space Between , Swarm Gallery, Oakland CA   Jennifer Brandon’s photographic images consist of ephemeral forms she’s created with materials associated with protection and comfort: cushions, batting, fabrics and threads that connect them. The work is grounded in the traditions of still-life; each photograph bares physicality rich in metaphor, unveiling a relationship with the body – wads, folds and tangles. She uses photography as the medium to hold these objects up for investigation.
 I tend to materials that protect and repair to form new things from the existing.   Accumulations  , with their soft, absorbent bodies of fiberglass, batting and string hang suspended in emptiness. Each fugitive mass pulls against and is supported by the frame’s edge, visually activated and immobilized by the photograph at once.   Accumulation I,  2011 Chromogenic print  48 x 35 inches
 Knots are felt deep in the gut, secure one thing to another. These   Knots   were wound from scraps of window curtains and threads. Each fibrous form was clumsily torn and patched together before it was encased in resin, the very stuff of memory.   Knot  IV, 2010 Chromogenic print 20 x 20 inches
 I tend to materials that protect and repair to form new things from the existing.   Accumulations  , with their soft, absorbent bodies of fiberglass, batting and string hang suspended in emptiness. Each fugitive mass pulls against and is supported by the frame’s edge, visually activated and immobilized by the photograph at once.   Accumulation III  2011 Chromogenic print  20 x 16 inches
 I tend to materials that protect and repair to form new things from the existing.   Accumulations  , with their soft, absorbent bodies of fiberglass, batting and string hang suspended in emptiness. Each fugitive mass pulls against and is supported by the frame’s edge, visually activated and immobilized by the photograph at once.   Accumulation IV  2011 Chromogenic print  30 x 24 inches
 Knots are felt deep in the gut, secure one thing to another. These   Knots   were wound from scraps of window curtains and threads. Each fibrous form was clumsily torn and patched together before it was encased in resin, the very stuff of memory.   Knot  III, 2010 Chromogenic print 25 x 25 inches

Handless Operative

Installation view, Casemore Kirkeby

Images, left to right: Larry Sultan, Jennifer Brandon, Whitney Hubbs, Awoiska van der Molen, David Benjamin Sherry

Reflect-ing I, 2016 (second from left)

Archival pigment print
20 x 16 inches

Jennifer Brandon & Andréanne Michon: Colliding

Installation view, SF Camerawork

Dilations, 2019

Solarized silver gelatin prints

Dilation XV, 2019

19 1/4 x 15 1/4 inches

Solarized silver gelatin print

Jennifer Brandon & Andréanne Michon: Colliding

Installation view, SF Camerawork

Dilations, 2019

Solarized silver gelatin prints


Dispersions toy with the conceit that a photograph is a mirror. Both bodily and otherworldy, each composition is rendered visible by the pushing and pulling of the paper’s embedded silver through the application of mirror remover intended for the restoration of traditional mirrors. It both extracts the silver drop by drop and pushes it around its surface; when left unfixed, the chemical undergoes an exposure of its own shifting tone and darkening slowly over time.

Dispersion III

Mirror remover on unique silver gelatin fiber print

36 ½ x 27 ½ inches

Jennifer Brandon & Andréanne Michon: Colliding

Installation view, SF Camerawork

Dilations (left), 2019

Dispersion III (right), 2019

Equivalent I, 2019

Unique silver gelatin fiber print

37 ½ x 30 ¼ inches

Jennifer Brandon & Andréanne Michon: Colliding

Installation view, SF Camerawork

Foam II, 2017

11 x 14 inches

Silver gelatin fiber print

Dispersions toy with the conceit that a photograph is a mirror. Each composition is rendered visible by the pushing and pulling of the paper’s embedded silver through the application of mirror remover intended for the restoration of traditional mirrors. It both extracts the silver drop by drop and pushes it around its surface; when left unfixed, the chemical undergoes an exposure of its own shifting tone and darkening slowly over time.

Dispersion II, 2019

Mirror remover on unique silver gelatin fiber print

39 1/8 x 68 7/8 inches

Jennifer Brandon & Andréanne Michon: Colliding

Installation view, SF Camerawork

Dispersion III (left), 2019

Silverscapes (right), 2019


Dispersion III (detail), 2019

Mirror remover on unique silver gelatin fiber print

39 1/8 x 68 7/8 inches

Sphere, 2018

10 x 10 inches

Archival pigment print

The bubbling and sparkling surface of a pool of aluminum paint is activated by manipulation from beneath.

Glistering II, 2015
Digital Video
dimensions variable

Foam X, 2018

Archival pigment print

40 x 21 inches

ReCurrent II (c, 2017) evokes an internal activity in flux. Each print was made with packaging foam, its solarization dependent on my physical relationship to the developing image.

Unique solarized silver gelatin print
16 x 20 inches

Jennifer Brandon & Jay DeFeo: Photographic Works

Installation, Mills College Art Museum

ReCurrents (a-e) evoke an internal activity in constant flux. Each print was made with packaging foam, its solarization dependent on my physical relationship to the developing image.

Unique solarized silver gelatin prints
42 x 30 inches each

Froth I, 2017

Unique silver gelatin chemi-photogram

19.5 x 36.5 inches

Wane I, 2017

Unique silver gelatin chemi-photogram

20 x 24 inches

Silverscape I (2017) finds squares of silverleaf are captured midair as they sweep across the image plane.

The squares themselves are odd, vulnerable forms, reflecting light and defining little but their own surface.

Archival pigment print
24 x 36 inches

Peak I (2017) is made from a window film made to guard against light and prying eyes. This material, normally flattened and seen through, suggests a distant, unknowable vista.

Archival pigment print
20 x 28 inches

Overlay I (2017) is a whisper of an image, suggestive of a watery surface, its surface is an impression made on a sheet of glassine that protected “ReCurrents” as the fiber silver gelatin paper was pressed flat.

Archival pigment print
24 x 30 inches


Jennifer Brandon & Jay DeFeo: Photographic Works

Installation, Mills College Art Museum, left to right:

Overlay I, 2017

SilverScape, 2017

Peak I, 2017


Reclaimed silver creates the mound at the base of Peak II (2017). The cast off material from the making of countless analog photographs, it is re-imaged, made of and from itself. Its title plays on multiple meanings; is it mountainous, peaking into the frame or prompting the act of looking?

Silver gelatin print
24 x 20 inches

Jennifer Brandon & Jay DeFeo: Photographic Works

Installation, Mills College Art Museum, left to right:

Leaf IV (triptych), 2016

ReCurrents (A to E), 2017

Foil III, 2015


Jennifer Brandon & Jay DeFeo: Photographic Works

Installation, Mills College Art Museum

Left to right: Fusings, 2015, Overlay I, 2017, Silverscape I, 2017, Peak I, 2017, Untitled (collage), 2017, Recollected, 2016, Untitled (collage), 2017, Peak II, 2017

Foreground: Formations, 2018

Leaf IV (triptych, 2016) evokes the terrain of an otherworldly landscape. A scanner amassed the image, built as light traced the surface of amassed silverleaves line by line.

Chromogenic print
30 x 21.5 inches each

Blown (2016) sets leaves of silver in kinetic motion: flittering squares afloat in an ‘almost-dance’ forward and back again, resting occasionally on an absent surface that causes spatial uncertainty.

Digital Video, 12 minutes
dimensions variable


Foiled II (2016) evokes a strange, ashen topography. It is composed of Cinefoil, broken and bent when used to obscure the camera and unwanted reflection in the making of Glistering.

Archival pigment print
Up to 96 x 127 inches

The surface of industrial material designed to cushion the flooring beneath us, Underlay II (2017) renders its machined banding visible across the image, giving way to what appears to be skin or bark.

Silver gelatin fiber print
30 x 40 inches

Fusings are solarized photograms made with safety glass that was repeatedly broken and flipped as the image was exposed. Trace ruptures in the surface of the image are visible, physical evidence of their making.

Fusing VII, (2015)

Solarized photogram
24 x 20 inches

In Glistering I (2014) the sparkling surface of a pool of aluminum paint is activated by the environment in which it was made. The mundane activity of watching paint dry is transformed into something mesmerizing and magical.

Digital Video
dimensions variable

Fusings are solarized photograms made with safety glass that was repeatedly broken and flipped as the image was exposed. Trace ruptures in the surface of the image are visible, physical evidence of their making.

Fusing V, (2015)

Solarized photogram
24 x 20 inches

Reflect-ing I (2016) the apparatus of memory itself, my photographs act as indexes: documents of and from their own making, generated via an active process of transformation.

Archival pigment print
10 x 8 inches

Foil III (2015) evokes the terrain of an otherworldly landscape. The scanner light that imaged its surface, traced through thousands of tiny glass beads, bouncing off of the aluminum foil substrate they're adhered to. The resulting surface reflects back on the scanner, evidence of its making in the tiny rainbowed glitches covering its surface.


Chromogenic print
72 x 43.5 inches

Plastic drop cloths are reformed into Casts plainly thrown into the image frame. This thin membrane usually lies in stasis to protect surfaces from accumulations over a span of time. In my hands, the material is animated, evoking the gesture of the hand that threw it.

Cast III and X, 2014

Archival pigment prints
34 x 28 (left) and 34 x 26 (right) inches

Plastic drop cloths are reformed into Casts plainly thrown into the image frame. This thin membrane usually lies in stasis to protect surfaces from accumulations over a span of time. In my hands, the material is animated, evoking the gesture of the hand that threw it.

Cast XIII, 2014
Archival pigment print
34 x 25 inches

Stratum I (2016) suggests a clouded atmosphere; however, this large silver gelatin print of my studio wall and backdrop, covered in the reflective paint that composes Glistering, photographed just beyond focus.

Silver gelatin fiber print
40 x 30 inches

Screening III (2013) is in mesmerizing flux, its movement a response to its environment. The subtle twirl reflects the space outside the frame; every shift a record of its surroundings.

Digital Video, 6 minute loop
29.5 x 20.5 x 3.75 inches

Recollection III (2016) appear to be from or of the landscape. The material gathered is reclaimed silver, the cast off material from the making of countless analog photographs. These photographs are documents of and from their own making, generated via an active process of transformation.

Silver gelatin fiber print
40 x 30 inches

Screens are made from a window film made to guard against light and prying eyes. This material, normally flattened and seen through, is gathered up and suspended; the photograph reveals its surface to be resistant and permeable at once.


Screen I (2013)

Chromogenic Print
40 x 37 inches

Luminous

Installation view, Stephen Wirtz Gallery

In Luminous, a group of arts formally engage in various degrees with reflectivity, translucency, and whiteness are gathered. Each artist explores the multi-functionality of imagery through the absence of color as a way of examining the language of and crossover between abstraction and representation.

Images, left to right: Claire Collette, Andrew Witrak, Tressa Pack, Jennifer Brandon

Screens are made from a window film made to guard against light and prying eyes. This material, normally flattened and seen through, is gathered up and suspended; the photograph reveals its surface to be resistant and permeable at once.


Screen V, 2013

Chromogenic Print
40 x 39 inches

In the Space Between, Swarm Gallery, Oakland CA

Jennifer Brandon’s photographic images consist of ephemeral forms she’s created with materials associated with protection and comfort: cushions, batting, fabrics and threads that connect them. The work is grounded in the traditions of still-life; each photograph bares physicality rich in metaphor, unveiling a relationship with the body – wads, folds and tangles. She uses photography as the medium to hold these objects up for investigation.


I tend to materials that protect and repair to form new things from the existing. Accumulations, with their soft, absorbent bodies of fiberglass, batting and string hang suspended in emptiness. Each fugitive mass pulls against and is supported by the frame’s edge, visually activated and immobilized by the photograph at once.

Accumulation I, 2011
Chromogenic print
48 x 35 inches

Knots are felt deep in the gut, secure one thing to another. These Knots were wound from scraps of window curtains and threads. Each fibrous form was clumsily torn and patched together before it was encased in resin, the very stuff of memory.

Knot IV, 2010
Chromogenic print
20 x 20 inches

I tend to materials that protect and repair to form new things from the existing. Accumulations, with their soft, absorbent bodies of fiberglass, batting and string hang suspended in emptiness. Each fugitive mass pulls against and is supported by the frame’s edge, visually activated and immobilized by the photograph at once.

Accumulation III 2011
Chromogenic print 
20 x 16 inches

I tend to materials that protect and repair to form new things from the existing. Accumulations, with their soft, absorbent bodies of fiberglass, batting and string hang suspended in emptiness. Each fugitive mass pulls against and is supported by the frame’s edge, visually activated and immobilized by the photograph at once.

Accumulation IV 2011
Chromogenic print
30 x 24 inches

Knots are felt deep in the gut, secure one thing to another. These Knots were wound from scraps of window curtains and threads. Each fibrous form was clumsily torn and patched together before it was encased in resin, the very stuff of memory.

Knot III, 2010
Chromogenic print
25 x 25 inches

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