Farrah Karapetian is a renowned Los Angeles based conceptual artist who creates stunning imagery through photograms or “cameraless” photography. She studied as an undergraduate at Yale University and received her MFA at UCLA. She just concluded an exhibition at Danziger Gallery in New York City and looks forward to her second exhibition at Von Lintel Gallery in Los Angeles in January 2016.
It’s true. The majority of my practice involves cameraless photographs – or “photograms” – and the making of sculptural negatives en route to their exposure. My sculptural negatives are three-dimensional objects the bodies of which operate according to the logic of light. I am not at all interested in the cameraless photograph as such, however; my practice is not driven by anachronism. I am interested in how images exist in the world, and a lot of my cameraless work examines existing photographs and reimagines the way that they circulate. Cameralessness makes that process of reimagining more physical and present and drawn out for me than do other photographic processes. In a sense, however, you could say that if I am influenced to make a cameraless photograph from a photograph I’ve seen circulating online, that cameraless photograph originates from a photograph taken with someone’s camera.
You are known for creating “cameraless” art. Does any of the work originate from a camera?
It’s true. The majority of my practice involves cameraless photographs – or “photograms” – and the making of sculptural negatives en route to their exposure. My sculptural negatives are three-dimensional objects the bodies of which operate according to the logic of light. I am not at all interested in the cameraless photograph as such, however; my practice is not driven by anachronism. I am interested in how images exist in the world, and a lot of my cameraless work examines existing photographs and reimagines the way that they circulate. Cameralessness makes that process of reimagining more physical and present and drawn out for me than do other photographic processes. In a sense, however, you could say that if I am influenced to make a cameraless photograph from a photograph I’ve seen circulating online, that cameraless photograph originates from a photograph taken with someone’s camera.
It’s true. The majority of my practice involves cameraless photographs – or “photograms” – and the making of sculptural negatives en route to their exposure. My sculptural negatives are three-dimensional objects the bodies of which operate according to the logic of light. I am not at all interested in the cameraless photograph as such, however; my practice is not driven by anachronism. I am interested in how images exist in the world, and a lot of my cameraless work examines existing photographs and reimagines the way that they circulate. Cameralessness makes that process of reimagining more physical and present and drawn out for me than do other photographic processes. In a sense, however, you could say that if I am influenced to make a cameraless photograph from a photograph I’ve seen circulating online, that cameraless photograph originates from a photograph taken with someone’s camera.
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