A tedious process produces magnificent explorations into the infinite boundaries of analogue film. Jessica Eaton's photographic work has consistently been based on working with the basics. Her medium is a 4 x 5 camera, in which she shoots geometric shapes, most recently cubes. These shapes are painted black, white, and gray, in order to photograph, and then, create the illusion.
Eaton takes these images, and using multiple color separation filters, extracting them, one by one. The result are vibrations of colors that are reminiscent of Karl Benjamin's painted works. Her work suggests a digital touch, however Eaton's pieces are purely analogue based. Although Eaton utilizes a common tool, namely a camera, to take her photographs, her work only slightly resembles the actual object she is capturing. Inspired by photo editing software, Eaton enjoys not attempting to capture a moment, but rather relating an otherworldly abstraction.
The result of Eaton's work is an evolutionary melding of color, shape, and line. While most editing occurs post-production, Eaton constructs as she captures, working within her medium and its constraints. Throughout her exploration, the control and infinite possibility continues to be the leading interest. Especially within our ever evolving Photoshop driven world, artistic practice so motivated by tangible experimentation is a singular method. Especially one so masterfully orchestrated.