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Artist Statement: Making Sense of What We Have
I find that written and visual information has incredible power on our actions, thoughts and relationships. Information is formed effortlessly, through interpretation. When it’s created and executed, it is no longer in the sole possession of the creator, leaving it vulnerable and open to re-interpretation. Many times many people share similar thoughts, creating different ways of transferring those ideas. How that information survives, depends on the one(s) who decides to carry it forward. This constantly reshapes a concept for people to understand, and it could lose its original meaning. That’s what makes research important, providing substance from additional resources strengthens what is delivered, but how is it that we determine what information holds more value? These ideas are communicated by combining traditionally separate disciplines such as installation, sculpture and photography and the surfaces of the printed media used are disrupted by physical alterations through sewing, dissecting, writing and pinning. Using existing objects that contribute to the sculptural element of the work with stories of their own, that serve as tools of organizing, identification, and creation of these histories. –Sarah Nesbitt
Sarah Nesbitt was born in Syracuse, New York and has a MFA in Photography from Pennsylvania State University. Her work has been shown widely nationally and internationally at venues such as the New York State Museum, Newspace Center for Photography, Griffin Museum of Photography, Cornell University’s Hartell Gallery, Axis Gallery in Sacramento, CA and most recently at the Festival Internacional de Arte & Tecnologia 404 in Rosario, Argentina. Her work is also in the permanent collection of President of the State University of New York at Oswego, Deborah Stanley and the Pennsylvania State University Library- Rare Books and Manuscripts. Sarah’s work uses photography to explore how visual and written history survives and adapts to contemporary technological and social pressures.