The Crochet Lesson

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In the mid-90’s, I was living away from home for the first time and becoming increasingly interested in making photographs. This was the decade I experimented with my parents honeymoon camera, a Voigtländer Perkeo I,  which led to my first twin lens reflex a Minolta Autocord followed by my favorite camera, the Rolleiflex Automat TLR.

In the past I have avoided talking gear for fear of betraying my camera nerdery. At some point in the 1990’s, maybe around 1997, I went over to my parents house. My mom was crocheting on the back porch which is a slab of concrete that is sheltered from the sun by the second story deck which overlooks Mission Bay. I had the Rolleiflex, a set of close-up lenses and a desire to photograph my mom’s hands, the yarn she used to crochet and the fabric of her dress.

Six frames were dedicated to a close-up of her trying to teach me a pearl stitch. I don’t remember why the portrait session had turned into a knitting lesson. Maybe it was a strategy for me get permission to photograph her. More than likely, it was my attempt to photograph the steps of the pearl stitch so that I could try it on my own. Maybe it was the bachelor in me thinking that in the future I would need to crochet a pair of socks or a sweater.

I must have grown impatient with the TLR and its parallax which made the framing of objects close to the camera an educated guess, for partway through the roll, I made two images of my mom from a converstational distance. Only two before going back to make four more attempts at recording the yarn on her lap.

Only a contact sheet was made of the Crochet Lesson. I never made individual prints of her hands. Next month as part of an exhibition of portraits of parents, I am including a reprinted version of this contact sheet made on a paper I used to print with during the 1990’s, Oriental Seagull Variable Contrast Glossy (the one in the blue box with the purple sticker).

My name is Francis Schanberger and I am a photo nerd.

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haunted sleepwear

Lately, I have been fixated on vascular support stockings. They trigger a memory of seeing my father wear them. Occasionally I would see his stockings folded after being laundered.  At other times I might would actually see him wearing them because of his pajama shorts he wore close to bed time.

I made the first version of the pajama shorts in February specifically for an exhibition at Proto Gallery in Hoboken, New Jersey. I made two additional versions early this summer. Number two was made with different coats of saffron and rainbow chard. Number one and number three were made with straight chard. Number three will be on display in Columbus starting tomorrow as part of the Fine Arts Exhibition at the Ohio State Fair. The most recent version ditches the pajama shorts in my attempt to create a sleepwear creature. When she saw the finished red tulip anthotype, my wife Bridgette said she was reminded of one of the ghost hitchhikers from Walt Disney’s Haunted Mansion. Disney updated a few of their classic attractions in the last 15 years. So if you want to see the connection, look for an older photograph taken at the amusement park. I am including one appropriated from tvbythenumbers.net.

Pajama Shorts with Anti-Embolism Stockings Number One

 

Pajama Shorts with Anti-Embolism Stockings Number Two

 

Pajama Shorts with Anti-Embolism Stockings Number Three

 

Bed Jacket with Anti-Embolism Stockings Number One

 

Ghost Hitchhikers from Walt Disney’s Haunted Mansion

 

In relative motion, in print

Last weeks Dayton City Paper, our free weekly paper, published a review of the zoetropes on display at the Dayton Art Institute’s Experience Center. The review is based upon an interview of Bridgette Bogle and myself by Susan Byrnes, a sculptor I have shown with in the past.

You can link to the article here at addressing dress

hats in relative motion

I have noticed that when sitting down to eat with friends that conversation drops off relative to the flavor of the food. If the food is prepared with love and eaten by individuals with a strong appetite, exchanged words tend to be rare.

Maybe that makes sense.

I use this as an analogy to explain the lack of reports from the studio. I have been busy with a few exhibitions and my second collaboration with Bridgette Bogle. This one involves zoetropes. Four of them. Below is a raw series that will include the use of color over the silhouetted figure.

the return of the return of doctor frangst

My projects typically have a run of about four years before transitioning to the next body of work. From the summer of 2001 until about 2006 I worked under the rules of staged cyanotype self-portraiture creating a fictional character name Dr. Frangst. The project came to a stand-still in late 2005 when I replaced the character’s usual white lab coat with a cyanotype photogram coat with gingko leaf patters covering it. I made a few more images after that but nothing really “took”. Gingko Photogram Lab Coat is currently on view at Kenyon College in an exhibition titled Material Message curated by Molly Bondy and Marcella Hackbardt. The exhibition can be found Kahler Gallery which is in the Studio Art Building and will be on view now through April 12th. Kenyon College is located in Gambier, Ohio.

Other artists in the exhibit include: Brian Andrews, Cheyenne Cardell, Ashley Cummings, Dennis DeHart, Kelsey Dillon, Kate Fraiman, Meredith Friel, Jon Funder, Rory Hamovit, Clare Hodgdon, Sarah Kaufman, James Luckett, Jack McKenzie, Ashley Moore, Elizabeth Myers, Patricia Lois Nuss, Selina Roman, Jacinda Russell, Ally Schmaling, Morgan Ford Willingham, Emily Witosky, Zeslie Zablan, and Maria Zarka.

a sensitive man

Yes. I am a sensitive man. Last month I ran into a lot of trouble trying to ship Iris Peignoir with Hidden Shorts to Arizona in a frame. I packed it so that it would be within UPS’s height and girth restrictions but my avoidance of dealing with the UPS store resulted in a lot of driving around and a lot of packing and unpacking of a large box with a smaller box in the parking lot outside the UPS customer center.

Severely defeated, I called up Gina at Art Intersection who gave me the go-ahead to send the unframed piece in a tube. When considering fourteen dollars vs. 200 plus dollars and all the heartache, my artistic vision is compelled to be OK with hanging a fugitive work on paper on the wall unframed.

Which is how it is being shown at Light Sensitive on view at Art Intersection now until April 19th. The exhibition juried by Tom Persinger of f295 is billed as a celebration of images from the darkroom. There is nothing dark about the grassy area I exposed this piece in during three weeks of Vermont sun. But it is light sensitive.

greetings from the frozen midwest

Staying in today to avoid the wind, the wind-chill and the subzero temperatures. I even emptied my work area in the garage to make a spot for the car. That’s what garages are typically designed for…the sheltering of cars, not the coating of anthotypes or UV exposure dependent printing. 

It’s a good day for late, late portfolio review follow-ups. I think I sent one about four weeks after getting back from Chicago. That would have been early November. I guess now they are New Year’s greetings. 

Next week, the Eight Annual OOVAR (Ohio Online Visual Artist Registry) Exhibition will have a closing reception on Saturday, January 11, 2014 from 2-3:30 p.m. in the Carnegie Gallery which is on the second floor of the Columbus Metropolitan Library’s main branch. Included is a digital print of the (Basic) Red Tulip Sleeping Dress

The original was just sold by Loretta Puncer’s Gallery 510. It is my favorite of the anthotypes and am glad to see it go to a good home. The framed anthotypes do take up a bit of room in my studio / slash office. I really do take after my father. His office was unusable except for a small area of a table in a room full of stacks of medical journals and old mail. 

No nightmarish pictures of cluttered office spaces today. Instead just a few snaps of the start of the (Basic) Red Tulip Sleeping Dress and it’s final framed version.