Emma Powell
An Elegy for the Honeybee |
Spiritually iridescent terror What do you look like you look like nothing — Gina Ablekop |
the difference between a tender impression and damaging ding is what my back rides up against. — Kate Colby |
Through a careless renaissance with the wrong workman, you find yourself on a skewer, belittled by the insult, “hybrid female.” — Sandy Florian |
Finally, what we know is a product of inference—so that the tokens and scraps of our experience become evidence, and really the only evidence, of the world beyond our wills and conceptions. — Melanie Hubbard |
Divided into rectangles: the exterior foreground, the shaded interior of the cattle car. Cast in plaster, stomachs made concave, the bodies of friends. — Laura Kochman |
Don't look too close. Don't try to get back things you think you own. — Éireann Lorsung |
Fair use of salvage mythology, Ethel set firmly between the shores of windows. — Kate Shapira |
to resemble always places her floral breast toward the sun and into the brightest light--the rest of her, dead — Jessica Smith |
Emma Powell is an artist in residence and lecturer at Iowa State University. Her work often examines photography’s history while incorporating historic processes and/or devices within the imagery. For her, photography mirrors human existence by asking “real-life questions from personal dramas to romantic doubts.” The photographic medium is ideal for investigating, for example, the tenuous relationship between sleep and waking and the ephemerality of both life and light, as well as acting as a “medium” for capturing “etherial and chemical” spirits. This series, “An Elegy for the Honey Bee,” (collodion process on acrylic) addresses the decline in bee populations. Working with local beekeepers and an Iowa State University entomologist, Powell captures the complex issues associated with colony collapse disorder. The work attempts, as well, with the mosaic hive piece, to visualize a bee’s compound eye. Find her at www.emmapowellphotography.com.
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