Juxtapositions 1994 - 1999

Reservoir, 1999

These early works were a means to explore the medium of photography, through colour, texture, and a collision of subject matter. Originating at the same time as the collage work, these sketchbook images were a fast way to explore the potential of photographic images to form new realities through dialogues formed between them.

I used this series as a means to continue the experimentation and exploration of the photographic surface that I was also exploring through the medium of oil painting. Using only commercial printers I worked intuitively, unwittingly mapping colours and textures before seeing the outcome in terms of a radical new meaning. Some of these compositions were eventually pained, such as Steph's Party, below.

Steph's Party, 1998 Oil on Canvas

Juxtaposition was a means to understand better the internal narratives of images and how they might speak to one another, despite losing all context in terms of time and place. By combining two images (and occasionally, four) I examined the ways that meaning could be transferred and intensified through transference.

This period was also a time of intense internal work. I had moved to New York in 1997, aged 24. Many of the Juxtaposition series date from the time when I was attempting to reconcile three different realities: that of my childhood, from which I felt a great distance, from my life in London and my new expanded field of life in New York.

The process of bringing together images in order to create a new reality is something that has remained constant in my work as the basis for my research and development of new ideas. In 1994 I discovered Adobe Photoshop and was delighted to be able to move this process over into the expanded field of tools that the software offered.

© Lisa Creagh 2019