CURRENTLY ON DISPLAY
The art of Stephanie A. Lehr
Stephanie's work falls into the genres of street photography and conceptual/surrealism.
To see a display of her work on Flickr: https://www.flickr.com/photos/139760732@N03/
Heraclitus claimed, "No man ever steps in the same river twice, for it's not the same river and he's not the same man." Conditions in existence are inevitably ephemeral, as light is continuously changing, the Earth is moving, our cells are multiplying, dividing, and dying daily – we experience microbursts of death itself while alive – and all organic matter is succumbing to aging. The only event unbounded from elasticity itself, and is unwavering with reliability, is a state of becoming. Within these oscillations and fragments of transitory moments, truth cannot be found, but a portrayal of truth.
I see in black and white as such is the most unsullied form of reality’s deconstruction, the essence of light, shadows, and form liberated from the distraction of color. I seek not to obtain the will from my subject, but to borrow it. This is a profound process in conjunction to an unconscious manifestation, a wild purging of memory material afflicted with the predominance of the present moment. I am not trying to have a resolution; I am trying to have a revelation.
The subjects in my work are not seen, but unseen: upright and fallen, malleable and impenetrable, cloaked in obscurity and lucidity, navigated in proximity and distance. Similar to the inevitability of impermanence, the meaning of my work contains shifting interpretations.
The four NYC street photography pieces exhibited here are uncharacteristic of my vision, as they are cathartic attempts to determine the conflict of isolation and belonging in life. These moments encountered in the city were seen through a tearful lens, while I was suffering from harrowing pain and grief from being ruthlessly abandoned by a close relationship. In a convoluted cultural infrastructure of nearly nine million inhabitants and the ensuing magnitude of possible events, these infinitesimal moments in time are irrevocably discrete, bestowing a passing moment of connection before dissolving into the pervasive, unquantifiable urban pandemonium. These studies depict moments of isolation and suspension from the world at-large, of circumstances within itself, yet, they are occurring in the greater spatial context of the city’s rhythm.