three, three, three

2013 - Drawing & Print (Drawing & Print)

Lucas Blalock

year born: 1978
nationality: American
home town: Asheville, North Carolina

Blalock resists the immediacy that we have come to expect from photography—that each photograph should communicate its message without delay. Within the dark obscurity of three, three, three (2013), he frustrates and complicates this conditioned response to the photographic medium, questioning the photograph’s purpose.


Lucas Blalock received his MFA from the University of California, Los Angeles. In his photographic work he fuses analog and digital technologies, relying on both the tactility of a four-by-five camera and the wide-open possibilities of digital manipulation. While many makers of photographic images may use digital tools while simultaneously burying the fact of that use, Blalock makes his manipulations evident.


Colors:



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© » KADIST

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Tree on Keystone
© » KADIST

Lucas Blalock

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Exquisite Eco Living (executive Properties series)
© » KADIST

Vincent Leong

2012

The photograph Exquisite Eco Living is part of a larger series titled Executive Properties in which he digitally manipulated the images to insert iconic buildings of Kuala Lumpur in the view of derelict spaces also found in the city...

Tremble
© » KADIST

Jiang Zhi

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In the video installation Tremble, Jiang projected the life-size images of seven naked men and women onto seven individual screens...

Wherein one nods with political sympathy and says I understand you better than you understand yourself, I’m just here to help you help yourself
© » KADIST

Yee I-Lann

2013

Sarcastically titled to call attention to the problematic notions underlying colonialism, this photograph shows hundreds of Native Malaysians seated quietly behind one of their colonial oppressors...

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© » BROOKLYN STREET ART

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Tree on Keystone
© » KADIST

Lucas Blalock

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Studio Construct 51
© » KADIST

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Elad Lassry

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In establishing a deliberate distance between viewer and subject, Lassry raises questions about representation itself and how all portraits are, in effect, fully constructed objects that only gain meaning once we ascribe them with our own personal associations and emotions...

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