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2018
“Having spent a number of years making hundreds of wet plate collodion portraits, I know that to get these perfect renditions in his portfolio “Fabrica”, required hours and hours and likely going back to the drawing board if any imperfections somehow found their way onto the glass. No imperfections are seen here which means that Luther Gerlach was passionately committed to getting these results. Luther explains his, “sense of loss,” when he learned that this factory was going to be repurposed into modern apartments, and any viewer of these images is immediately brought to similar thoughts of loss, of comparable scenarios in their own world.
These ethereal images are rich with narrative and tell the universal story of places and lives being expediently erased from our consciousness for the sake of “progress.” We should thank Luther for his,“…small way of saving this factory, archiving it’s history in light and shadow.“ Thank you Luther”. Jill Enfield
2019
“Using liquid emulsion, this artist prints found negatives anonymous snapshots from a previous era, onto oyster shells she gathers at the edge of London’s Thames River – a very unexpected conjunction of materials. She has fused two castoff elements into small handheld portraits which are oddly reminiscent in size and weight of original 19th century daguerreotypes in cases. The artist wrote that she displays these photo-objects alongside other found artifacts from her river walks. Viewers immediately handle the shells, engaging with these photographs in ways they would not, had the images been printed, framed and hung on the wall in a more conventional presentation.” Jesseca Ferguson
2020
“This is a beautifully crafted, realized and graphic portfolio full of painterly energy and gesture. As well, the work is resplendent with a multitude of powerful themes involving your Mexican heritage combined with an ever-evolving American identity, the internal and social struggles embodying your desire for children and that desire being challenged by the chronic health afflictions within yourself and family. It is an impossibly rich combination of themes which, to this point, you are representing with passion and power. Great work!” Christopher James
2021
“Such accomplished and beautiful work… precise, playful, clearly loved in the process of making. What I truly enjoyed was how many ways this work might be experienced in person especially if given the permission to hold and move the pages and complex elements that make up each piece. In the time-honored treasure and marriage of nature collected and archived, the work clearly demonstrates the artist’s love of the subject, the concept and the physical act of creating wonder as in the trompe l’oeil stacked pages (referencing the leaves in Whitman’s Leaves of Grass) A pleasure to look at look and experience.”
Christopher James
Henri Blommers
2022
“Your work is quite wonderful and as anyone deeply connected to nature knows, there are no straight lines and it is the flaws that are beautiful and special. The fake truths that you write about are the real aberrations and have nothing to do with any nature other than the darker human ones. Your incorporation of the poisons of commerce, e.g., weed-killer, pesticides, and invasive plant species as materials in your work is brilliant (please wear gloves and a mask) and is intimately married to both your concept and study practice and workflow. I love this work.” Christopher James
2023
“I love this work for all of the languages it is speaking and for the obvious love of the craft on display. In a contemporary context, your work is profoundly emotional, lighter than air,
moisture laden, and ironically, reconstructed and housed in geometric form. For me, the work explores the vulnerability of our environmental existence and the abstracted concept of archiving little preserved and contained pieces of it that are “suitable for framing” … a natural history of inevitable change… in nature as well as life. Denis Roussel would have loved this work I think. Wondering if you have looked at German Sculpture Thomas Demand’s work with paper? Or perhaps Berndaut Smilde’s clouds within rooms? For me the work is precious and sad in the same moment. ” Christopher James
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