Like Baer, Lori Nix’s
work is made possible by the vocabulary and manipulative possibilities,
but not the technology, of new media. As all you who have followed
the LA Times firing of its war photographer in Iraq last year for
the slight digital manipulation of a photograph understand, there
continues today to be a high tension between the photo as reality
and the photo as artifact. Lori Nix intentionally subverts our traditional
notion of photographic visual reality by allowing the semi-realistic
world of the toy train-set to move beyond children’s play
and incorporate foreboding and tragedy. In her simulated landscapes
the table top becomes the hyperspace of imagination. Here, as in
all compelling storytelling, the factuality of the real is supplanted
by the iconography of myth.
Nix’s work includes a survey of Midwestern phenomena and natural
disasters: tornadoes, floods, snowstorm, insect infestations and
even a two-headed dog. Her work features ambiguous undefined scenes
of suspense: empty park hillsides, bikes abandoned near barren forests,
thick cattails on the edge of a deserted marsh. Nix’s tableau
views are not those of a distantiated documentarian but rather examinations
of our willing suspension of disbelief and an inquiry into the visual
clues through which we read the world as “real.” By
constructing three-dimensional miniature dioramas rather than shooting
natural scenes, her table-top landscapes explore photography’s
incongruous and inexplicable tie to a world beyond the actual: to
the allegorical, the fantastic and the surreal. Pursuing Hypermedia’s
most radical potential, Nix’s work rejects what is seen as
an official, uniform photographic process.
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