Back to School
Work from the Workshop(s)
Back to School, once a cringe worthy phrase, is in this case an exhibition in celebration of the shared experience and growth that comes from sharing work and ideas in a non-competitive environment. As September rolls around again, we wanted to remind our members and followers that education opportunities are available to everyone regardless of age, and the Rhode Island Center for Photographic Arts is more than just an exhibition space.
The exhibition features a selection of work, and work in progress from: Denise Bass, Angela Brown, Jeff Buttel, Bill Clark, Mark Dixon, John Femino, Reed Pike, Keith Prue, Terry Rochford, Cynthia Taft, Carrie Usmar & Kathryn Yeaton
As we put this exhibition together to feature a wide selection of work that was developed during Workshops and Mentorships programs we have run here in Providence over the last few years, we also wanted to preview a few projects in progress, that we will be featuring in a more complete form in 2025. My hope is the preview, and the inclusion of work in progress, (not normally included in a gallery exhibition) will serve to highlight the development and collaborative process that is at the core of of workshop programs. There is work involved, often over a long period of time to move from an idea to an exhibition ready project. Ideas rarely spring into the world fully formed, there is a process of review, revision and refining to be navigated. To identify a photograph you have made as special is relatively easy, to recognize and define what it is that makes it special or interesting is more challenging. Exploring this concept, and working through the process of refining and building on that image, to replicate it, and define the underlining theme is a large part of what we work through in our Storytelling, Photo Essays and the Personal Project with David H. Wells workshop. Collaboration, group reviews and supportive feedback also play a part in the success of this program. Registration is open and seating is limited, as our most popular workshop we expect it to fill quickly. This exhibition features previews and excerpts from six projects developed in previous or ongoing sessions.
With this exhibition we are also launching a new series of workshops, starting with a series of mini sessions to present specific skills in one and two session programs. These will also come with the option for more intensive training and range of mentorship opportunities available in small group and individual sessions.
– David DeMelim,
Managing Director,
RI Center for Photographic Arts
Storytelling, Photo Essays and the Personal Project Fall 2024 with David H. Wells
Registration is now open for this four month program starting October 16th
Back to School
Work from the Workshop(s)
Celebrating Workshops & Mentorship at the Rhode Island Center for Photographic Arts
For this unique curated exhibition we have collected a selection of work produced in, or in conjunction with, workshops and mentorship programs here at the Rhode Island Center for Photographic Arts. The exhibition is unique in including both new projects done after, and work still in progress, presented alongside selections from previously completed projects. Included are work from; Denise Bass, Angela Brown, Jeff Buttel, Bill Clark, Mark Dixon, John Femino, Reed Pike, Keith Prue, Terry Rochford, Cynthia Taft, Carrie Usmar & Kathryn Yeaton.
Gallery Night Providence Reception: September 19th, 5:00 – 8:00 p.m.
Exhibition: Thursday, September 19th thru Friday, October 11th
Denise Bass: Finding Mary
Artist Statement: Finding Mary
Finding Mary: A photographic exploration of lawn shrines and the residential frontyard as a pulpit for expressing faith, culture and artistic whimsy. We’ve all seen how people use their front yards to make some kind of statement: Flower gardens, holiday decorations, political signs, gnomes. The Finding Mary project explores religious lawn shrines specifically, and the reasons behind using the front lawn to make a statement. Images are paired with quotes from the shrine keepers.
– Denise Bass
Context:
Finding Mary evolved from a project first started in our first Visual Storytelling Workshop with David H. Wells. It is still in the process of being refined with the support of an ongoing review group, that meets monthly, here at the Rhode Island Center for Photographic Arts. While an exhibition set of prints is in progress, a book is a likely final result, meanwhile the project continues to grow on Instagram
Reflection by Denise
Before taking the Visual Storytelling workshop with the Rhode Island Center for Photographic Arts, I had never done a personal photo project. I had a few photos and an idea that I thought might be worth pursuing. Taking the workshop helped me learn how to analyze my idea and think about it in ways I hadn’t thought about it before, including researching historical context and searching for similar work being done. Writing a proposal really helped me think through why I was doing the project, how to make it relatable to viewers and fine-tune what I was trying to say. Once I had that figured out, I got excited about having a well formed, solid idea and wanted to work on it all the time. Having a deadline was a motivator for keeping the work moving forward. I now have a good foundation for forming and developing story ideas that I can use forever. But the best part, and the reason I signed on for the extension workshop, is the dialogue, constructive criticism, and support of the group. I learned a lot from the feedback they gave to me, and I learned a lot about how to provide useful feedback for others. That is something I didn’t expect to learn from the workshop, but I realized how important it is and I want to continue to work on that too. – Denise Bass
About Denise:
My introduction to photography began in my father’s home darkroom, where I watched images of my sister and I emerge in the developer bath under the red glow of the safety light. I was fascinated by my family’s old photo albums and the stories my grandparents shared about relatives I could only know through photographs. That idea of preserving family history through photos directly led me to wedding photography, which has supplemented my career in photo labs, newspapers, and creative agencies. In recent years, I began developing a personal photography project called Finding Mary: A Photographic Exploration of Lawn Shrines and the Residential Front Yard as a Pulpit for Expressing Faith, Culture, and Artistic Whimsy. This project was born while taking walks through my neighborhood, where I noticed a large concentration of “Marys on the half shell.” In talking with the shrine keepers about why they create these displays, they shared stories full of pride, bravery, charm, and inspiration. The quotes accompanying the photos come directly from the shrine keepers.
Website: www.denisebassphotography.com
Angela Brown:
Artist Statement:
Generally speaking, I make photos of scenes or moments that excite me, or simply put … “make me feel”. They can be simple or they can be complex, but I’m looking for the feeling… I enjoy photographs that transport me from daily corporate life to a more tranquil and evocative place. That’s the feeling and experience I want people to have when they see my work. To be drawn in to another experience.
– Angela Brown
Context:
Angela is an active member and part of re/vision. re/vision is a peer to peer group comprised of supporting members started in April 2020. The group continues to meet bi-weekly to share new work, ideas in development and test new directions. Collected works are available in a limited edition portfolio, 2020 in a box a set of prints developed as we came together during the earliest and uncertain days of the Pandemic. The group exhibits together occasionally with the next exhibition scheduled for February 2025 at Art in The Atrium, Providence.
About Angela:
Angela is an artist/photographer currently living in Provincetown, MA and Providence, RI. A career in corporate technology began in the ‘80s involved living and working for several years in Hong Kong, Singapore, and Tokyo where I was building financial systems and trading floors. Being alone in such places drew me to document my travels through Asia, but my photographic endeavors were put on hold for more than a decade as my career grew.
Over time, and like many before me, I rekindled my interest in photography, with a focus on photographs that transported me from daily corporate life to a more tranquil and evocative place. That’s the feeling and experience I want people to have when they see my work. To be drawn in to another experience.
Now that corporate life is behind me, it is clear to me that Cape Cod in the off-season is always that evocative, place if you spend time to discover it. The best part is that I’m fortunate to spend most of my time sharing my experience of Cape Cod with others through my photography.
Website: www.acbphotogallery.com
Jeff Buttel:
Artist Statement:
Photography is an inherently voyeuristic art, that allows us to examine moments in time in a way that we can’t when everything is in constant motion. I started this series of detailed large format portraits to allow my subjects to project themselves, and to allow viewers to examine them both as personalities and as objects. My subjects, brave souls that they are, have seen other images in this series, and willingly and lovingly allowed themselves to be put under the microscope.
– Jeff Buttel
Context:
Jeff is part of an ongoing review group that grew out of the first running of our Visual Storytelling works shop with David H Wells. Jeff continues to explore portraiture with a focus on family history, repeating patterns, and shared personal connections, with several different longterm projects in progress.
Reflection by Jeff
The RICPA workshop provides a safe space to share my work and receive helpful criticism and direction. I love the sense of community that develops as I see my work in the context of others. I have learned that my peers are often better editors of my work than I am, and that has helped my tremendously. Mostly I enjoy looking at photographs and having conversations about them.
About Jeff:
Born on Long Island, in New York, the son of college professors with happy feet, I have lived in Cincinnati, Beloit WI, Philadelphia, Rhode Island, Cape Cod, Maine, and Boston. So I guess I inherited those happy feet. I studied art as an undergrad at Beloit College, with an emphasis on photography, but went to work as a carpenter after graduation. That was followed by a year of living off the grid in West Virginia, which didn’t go particularly well. I ended up doing carpentry and contracting again. Watching my peers descend into alcoholism, and becoming a single parent, I decided change was in order and went back to school to get an engineering degree at the University of Rhode Island. Eventually that led to a job working for a friend who started his own company. I joined the company as the third employee, and because the company did well I was able to retire at 50. In my sixties I went back to school to earn a masters degree in photography at Lesley University , working mostly in video. I spend most of my time in my woods, cutting firewood, making trails, and clearing land. I also scratch my creative itch by doing photography.
Bill Clark
Artist Statement:
Photography traditionally records the reality of what is happening before the camera lens. Many choose to document an expansive landscape, a carefully lit human face, or record a special celebration. I have, instead, chosen to explore the infinite ambiguity of abstract photography. Using light, time, and my own physical gestures as my tools, I employ the camera to make visible what is impossible for the naked eye to see, thereby questioning the true perception of the reality that is before the camera lens.
My goal is to engage the viewer by creating an interactive dynamic. Each one of us brings our own experiences and background in front of a photograph. Therefore each of us brings a unique perspective to the work, inviting the viewer to open a door to interpretation, interrogation, and contemplation.
– Bill Clark
Context:
Bill is a calligrapher and photographer with a passion for exploring Intentional Camera Movement and creative experimentation, often with his iPhone. Bill is an active member and part of re/vision. re/vision is a peer to peer group comprised of supporting members started in April 2020. The group continues to meet bi-weekly to share new work, ideas in development and test new directions. Collected works are available in a limited edition portfolio, 2020 in a box a set of prints developed as we came together during the early and uncertain days of the Pandemic.. The group exhibits together occasionally with the next exhibition scheduled for February 2025 at Art in The Atrium, Providence.
About Bill:
With a concentration on the interpretive power of the abstract, I work to tease the inner imagination of the viewer. The results are mysterious and poetic landscapes that reveal energetic patterns, or the whisper of delicate detail.
Also a professional calligrapher, my passion for hand lettering has a dramatic influence in many of the images. Photographs are highlighted with flourishes and fine lines appearing as if inked with light while creating mesmerizing detail.
Each image takes on a different personality, reflecting my technique, inspiration, and creative spirit at the time. During the split second that the shutter is open, well-rehearsed gestures are called upon that guide how the image will be recorded. This intensity of defined movements carried out within a compressed time period, influence both my creative focus and the emotional impact of the final photograph.
Website: inkandaperture.com
Mark Dixon
On Rocking the Boat (and Mentorship)
Mentor: character in the Odyssey tasked with guiding and nurturing Telemachus, the son of Odysseus
mentor: someone who teaches or gives help and advice to a less experienced and often younger person
In retrospect, I realize mentorship is the common thread between the workshop coordinated by RICPA and taught by David H. Wells and the two bodies of work from which I have submitted photographs.
Rocking the Boat is a multi-faceted, STEM-based program that provides “wrap-around” social services and uses boat building, sailing, and environmental science as tools of youth development. Over 200 students, and an impressive list of collaborators, are engaged in the program annually. The boat building program’s motto “Kids don’t just build boats, boats build kids” speaks volumes to the philosophy, actions, and aspirations of Rocking the Boat. The Boat Building Apprentice Program is an intensive program engaging students in all aspects of building a traditional wooden boat under the tutelage of mentors and with the support of social services.
“These experiences are life changing for them… it is an opportunity for them to discover strengths within themselves and possibilities in the world around them they never knew existed.”, Adam Green, Rocking the Boat founder and Executive Director. They were being mentored.
Marie Pampeon public beach on Curacao is small yet bustling spot nestled between resorts. During multiple visits I watched water aerobics, met old men who swam daily, saw boxers working out and kids playing soccer, watched families picnic, and dined at a small fish restaurant owned by a fisherman who catches the menu. I also saw school-aged youngsters taking swim lessons, vital if you live on an island. These lessons were as much about self-esteem, understanding success and setbacks, and being part of a community, as they were about swimming. They were being mentored.
David provided guidance, feedback, the benefit of his experience, an open forum, and the tools to improve. We were being mentored.
Context:
Since developing his Rocking the Boat photo essay during one of our Visual Storytelling works shop with David H Wells, Mark has successfully produce a number of photoessays on topics as far ranging as those mentioned above to a look into the foundry and artistic practice of a local sculptor.
About: Mark
Many of my images are of people or how people influence their environment. My training as a scientist helps my see details, understand relationships, and record information. I have worked hard at gaining a creative aesthetic to go with my observational skills. I have been fortunate enough to have my work exhibited in galleries and to become an elected artist in several art centers. I also have had the good luck to travel on several artists residencies. My goal is to continue to improve as a photographer and explore more ways to reach a broader audience.
– Mark Dixon
John Femino
Artist Statement: Big Ted
1970. The Vietnam War raged on, riots erupted on college campuses, and schools across the country shut down.
I headed west to Wisconsin, where friends had founded an arts and meditation community on an abandoned farm, called Big Ted. There, I split my time between preparing communal meals, gardening, and working on my conscientious objector application. Along with my longtime friend Genoa, I photographed everyone as they pursued their arts and built a new kind of life based on the principle of not causing harm to other living beings.
Decades later, I revisited my old contact sheets, examining each frame with a magnifying glass. Inspired by these photographs, I scanned the negatives and printed the images for the first time. With Genoa’s support, I initiated an email list with the original farm members—all 13 are still alive. These email exchanges led to a gallery show featuring selected photographs and excerpts from our email interchange.
Jeff Buttel, a Big Ted member and participant in our visual storytelling group at RICPA joined Genoa and I in weekly Zoom meeting, where we performed interviews with all the Big Ted participants. We formatted these into a photo story book with full-page, high-resolution photos paired with one page short stories. These vignettes became a collective memoir, seen through the eyes of Jeff, Genoa and I as photographers and participants.
These photos triggered memories in the whole group, bringing forth vantage points—from then and now that we are in our 70s. It turned out we were reconnecting after outstanding and exalted careers on everyone’s part.
What was it about that brief time at Big Ted, that served as an incubator for all of that? There is no doubt that it was pivotal for each of us. Our obsession with fine art, our own studio work, ethics, and our cooperation in collective life ignited an alchemical mix that powered each of our careers for decades.
This project highlights our coming of age during a time of war, social transformation, and breathtaking experiences of vision for a new way of being, all seen through the lens of who we have become. We all achieved success. I incorporated my experiences into my medical practice for treating delirium, psychosis, and addiction.
My goal is that viewers and readers will gain firsthand insight into an era through the experiences and the artistic touch of these photographs and stories to connect with those who weren’t there. This offers a taste of a time that many might not otherwise know—of an era that existed for real—and a deep feeling for communion that still is a blueprint for a far better future.
– John Femino
Context:
Big Ted has evolved from a project first started with a binder of negatives shot some fifty years ago. In our first Visual Storytelling Workshop with David H. Wells an exhibition set of prints was identified before the stories behind the pictures took center stage, as John reconnected with the subjects in his photos. As part of one of our longest running review groups, John’s project has grown from an exhibition to a book, (probably a series of books) with a documentary film a likely option. Connections made fifty years ago have been reestablished, friendships renewed, expanding the story, and the storytelling opportunities.
About John:
My passion for photography began in high school, where I developed my own negatives and prints in homemade darkrooms. I joined the school yearbook and camera club, laying the foundation for a lifelong interest in the art. During my undergraduate years at Brown University, I studied photography as an exchange student at the Rhode Island School of Design (RISD), where I had the privilege of learning under Harry Callahan. Although I was accepted into RISD’s MFA photography program, I decided to pursue medical studies first.
While at Brown University School of Medicine, I merged my interests by creating the school’s first yearbook in 1976. After completing a residency in internal medicine and a fellowship in addiction medicine, I joined the faculty as a full-time educator. My dual passions for photography and addiction treatment led me to Youth Vision, a non-profit television production company. There, we produced nine videos on substance abuse, aired two prime-time broadcasts, and received a cable television ACE award.
Today, my primary focus is still photography, particularly capturing images of nature and family. Due to the demands of my medical career, my work has been centered around Rhode Island, often near my farm in Foster or on the beaches of Middletown and Charlestown.
I retired 8 years ago and joined the Rhode Island Center for Photographic Arts (RICPA). I have frequently exhibited my work and participated in a storytelling workshop. For the past three years, I have been working on the Big Ted Farm project, which has resulted in a book of short stories combined with photographs, as well as a video summary with narrations from participants. Excerpts from this book and video will be featured in the upcoming group exhibition. The book is expected to be ready for potential publication next year.
– John Femino MD
Website: feminophoto.com
Reed Pike
Artist Statement: Worn, Weird, Wonderful Warwick
“Worn, Weird, Wonderful Warwick” is a photographic project that aims to capture the essence of Warwick, Rhode Island, through a unique lens. Founded in 1642, it is the third-largest city in the state, with a population of 82,823 citizens. Warwick has 39 miles of shoreline along Narragansett Bay, two lighthouses and seventeen marinas. Warwick is my current home, but my roots are on the opposite coast in San Francisco.
Through this project, I seek to foster a deeper appreciation for Warwick’s multifaceted nature, shedding light on its quirks, beauty, and intricacies. “Worn, Weird, Wonderful Warwick” will encompass various photographic subjects, including urban scenes, natural landscapes, and architectural details. Each image will be carefully composed to reflect my interpretation of Warwick, focusing on the idiosyncrasies and beauty that I perceive through the lens of a West Coast transplant.
– Reed Pike
Context:
Reed is part of one of our longest running review groups that grew out of our Visual Storytelling workshops with David H Wells. His Worn, Weird, Wonderful Warwick project was selected by Juror, Frances Jakubek for inclusion in our Juried Spotlight Member Exhibition. An active member, Reed is also a frequent gallery sitter and oversees several special projects at the Rhode Island Center for Photographic Arts.
About Reed:
Photography was an adolescent passion that led me to study at the Academy of Art in San Francisco, then eight years as a photographer in the U.S. Navy and three years as a photographer/graphic artist at Stanford University. Ultimately, taking photographs for a living tamped down my passion, and I literally stopped taking photographs for over twenty years. Then, I picked up an iPhone and rediscovered photography. It was all new, all digital and the passion was rekindled. These images are the result of that re-engagement with the art and craft of photography.
Website: www.reedpikephotography.com
Keith Prue
Artist Statement:
I’m substantially a black-and-white photographer of life as it plays out on the street, so during the pandemic my subject matter all but disappeared. I’m competitive in nature, and thrive in workshop environments, and I love the challenge and ability to feed off ideas in a creative forum. Therefore, the re/vision group, which was formed at the start of the pandemic in April 2020, was important for me to find a creative output. What started as an exploration of subject matter beyond the human form, led me to consider how images interrelate and interact with each other. I have previously played with the relationship between images in diptychs and triptychs, but never really explored combining multiple images within a single frame. What I really enjoyed about this approach was how a conventional scene or object could be transformed into something completely different.
As re/vision is an ongoing group, there is no clear transition between the “project” and subsequent work.
– Keith Prue
About Keith:
Keith Prue‘s photographs challenge us to look at fleeting moments of wonder through the simple pleasure of seeing. Drawing on visual impact or contextual comparison from living and working on four continents and experiencing fifty-five countries, he reflects and contrasts cultural nuances in his pictures.
Published online and showing in group exhibitions in the USA, Italy and Mexico, Keith’s photographs are held in private collections in the USA, Mexico, Brazil, Uruguay, UK and France. Primarily a self-taught artist, he is an Exhibiting Member of the RI Center for Photographic Arts, and Elected Artist and former Board Member of Art League RI.
Website: keithprue.com
Terry Rochford
Artist Statement: Bosnia: The Aftermath
What happens in the aftermath of war when the conflict ends? Can the survivors return to some semblance of their previous lives or is their existence forever altered? Can former enemies find a way to coexist, even if uneasily? Is a degree of reconciliation possible or do old divisions and animosities stubbornly persist? These are among the questions I sought to answer in Bosnia, a land that was torn apart by a brutal ethnic war when Yugoslavia splintered into separate states in the 1990s.
These photos, a selection from a much larger project, depict some of the physical scars and reminders that still remain almost 30 years after the end of the conflict. For those who lived through that war, the psychological scars may be just as great, but they are largely hidden.
– Terry Rochford
Context:
Reflection by Terry
I joined the Storytelling Workshop in March 2022 when I was struggling to organize a series of photos taken during a 2019 trip to Bosnia into book form. With the help of David Wells, David DeMelim, and others in that group, that effort was largely successful. But seeing the result, I felt it was also incomplete because it didn’t address the 1992-1995 Bosnian War as effectively as I wanted, so I returned to Bosnia in September 2022 to continue the project.
Shortly after I came home, I was invited to join an ongoing workgroup with David, David, and other alumni of earlier storytelling workshops and jumped at the opportunity. I have been working with that group ever since, and it has continued to influence and improve my storytelling. In particular, I have gained a much better understanding of editing and sequencing my images, telling the story, explaining my motivations, and promoting my work to a wider audience,
The images presented here, which are part of my larger project, are the product of my second trip to Bosnia and the lessons learned in the RICPA storytelling workgroup series.
About Terry:
This project has grown out of my long-term association with Eastern Europe, which began in Prague in 1969, continued in Warsaw where I met and married my wife in the 1970s, and led to a second field of study during college. Having wanted to visit Sarajevo since the 1984 Winter Olympics, I finally got my chance to travel to Bosnia in 2019 almost 25 years after the end of the war there and returned following the pandemic in 2022.
Cynthia Taft
Project Statement: The Lure of the City
New Hampshire is a beautiful state and I have fond memories of growing up there. But it did not make me a country girl or nature lover. I was much more excited about going to events and museums in Boston. So, large cities became my home for over forty years.
I was drawn to the grand architecture and lifestyle in cities but especially to the feeling of being one of many lives in a vibrant and diverse community. You feel the energy from so many people and cultures and from the rhythm and sounds of life happening all around you. These moments, and the quieter times in parks and museums, all inspire my work as a street photographer.
Another important part of the story for me is how we find community and build personal relationships in cities. We all face the challenges of crowded streets and subways and sometimes experience fear and anxiety. What I have found is that these collective and shared experiences of the highs and lows of urban living help to bring people together.
Living in cities may create bonds but not the same feelings about what life is like in cities. Looking through this window into the lives of people in different cities, your feelings and interpretations will be based on your own experiences. That is the dialogue I hope to create by sharing my vision.
– Cynthia Taft
Context:
Reflection by Cynthia
The workshop came at a very important time in my evolution as a street and urban scene photographer. My focus prior to the workshop was on finding interesting stories involving people and their daily lives in cities, and my style was more documentary and formal. Although I did think about how to use the light effectively in my compositions and convey emotion, I learned from the workshop experience and sharing my work that I needed to bring more of my own artistic expression and emotion into the scenes I was capturing.
At first it was difficult to understand what I needed to do and how to enhance the creative spark in my work. So I started experimenting during the workshop and after, and gradually I began to feel the change in what I was creating. It’s a work in progress, of course, but I feel much more confident about what kind of pictures I want to make. The workshop was the galvanizing force that gave me the inspiration and tools I needed. – Cynthia Taft
About Cynthia:
I am a street and urban scene photographer focusing on telling authentic and spontaneous stories about the everyday lives of people and the places they live. I am inspired by Cartier-Bresson’s humanist approach to street photography and his ability to lift everyday moments into revelations about bigger truths.
The joy in my work comes from finding these moments and, using my own artistic expression and vision, conveying a story in a way that people can connect to and care about.
Website: www.cynthiataftphoto.com
Carrie Usmar
Project Statement: Resume of a Stay at Home Mom
One in five American parents stay home after having children and I am one of the mothers who chose to be the stay-at-home-parent. In 2021 I received a copy of our tax returns in the mail and my occupation was written as “Houseperson”. Angered by that title and the emptiness I felt, I was fueled to create images that highlight the amount of work, skill, and dedication involved in the role of primary caregiver to my four children.
Using a tripod and remote, I documented my daily interactions with my family and these images became my series “Resume Of A Stay-At-Home Mom”. The images display ordinary moments that capture the solitude and sacrifice stay-at-home mothers experience and catalogue the myriad of skills used daily forcing people to re-evaluate their assumptions about the role. The process of choosing a title for each image that corresponds to a skill on a resume made me feel seen and valued in an often invisible and thankless role.
– Carrie Usmar
Reflection by Carrie
I have always been a photographer, but in 2021, I was looking for local community and guidance to refine my focus and direction in my photography. I hadn’t worked on a long term project since college, so the Storytelling Workshop seemed like the exactly what I needed. I remember feeling uneasy about sharing my portfolio in the first class. My images felt random and disconnected, but the group immediately resonated with my image “Laundry Specialist”. As I explained its meaning, everyone agreed that focusing on motherhood and domesticity was the way to go.
By the end of theat first workshop, I had developed a set of 10 images and a project statement for my series, “Resume of a Stay at Home Mom”. I submitted several images and my statement to the Newport Biennial at the Newport Art Museum, and was thrilled to be selected for the exhibition. Encouraging by this early success, I decided to continue with the group and joined the second round of the workshop.
Since then, “Resume of a Stay at Home Mom” has evolved significantly, and I’ve started several other projects. I’ve explored video work, learned to create handmade books and book dummies, and began a new project called “This Place Could Be Beautiful”. Our group continues to meet regularly, and we all benefit from each other’s insights and feedback. The deadlines and collaborative environment have been crucial in helping me produce new work. One of the most important lessons I’ve learned is that having mentorship and a supportive group of peers is essential for my growth as an artist.
About Carrie:
Usmar received a BFA from University of Rhode Island with a focus in photography and filmmaking. She has exhibited at numerous institutions across the U.S., including Rhode Island Center For Photographic Arts, Newport Art Museum, Hera Gallery, and The Curated Fridge. Her work has been published on The Luupe and Lenscratch. She was selected for a residency at Garrett On The Green in upstate NY and was invited to attend the Eddie Adams Workshop XXXVI. Usmar is also a top 200 finalist for 2022 Critical Mass.
Website: www.carrieusmar.com
Kathryn Yeaton
Project Statement: Industrial Bloom
“Flowers… are a proud assertion that a ray of beauty outvalues all the utilities of the world.” – Ralph Waldo Emerson
The American people have a strong appreciation for flowers. They are purchased to commemorate the most significant milestones in our lives, totaling to an astounding $6.2 billion dollars per year spent on cut flowers in the United States annually. We buy more flowers in a year than we do Big Macs. We also enjoy visiting gardens just to look at flowers. In fact, garden tourism is the fastest-growing segment of today’s tourism industry; more individuals visit gardens in the United States than Disney World and Disneyland combined! These industries are inextricably linked to the environment and provide a powerful platform for environmental awareness and activism.
One Rhode Island non-profit is harnessing the power of flowers to transform their local environment for the better. The Flower District (formerly What Cheer Flower Farm) operates in an abandoned factory complex on the south side of Providence’s blighted Olneyville neighborhood. Spanning 2.7 acres, the urban site was predominantly covered in pavement, decaying structures, and contaminants left behind from its former life as a knife factory. The farm is undergoing the massive task of removing all the derelict buildings, making way for their mission to grow flowers and donate them to those in need of a little joy. Last year alone they donated over 100,000 flower stems to local shelters, hospitals, and food pantries.
– Kathryn Yeaton
Context:
Kathryn is a past participant in one of our Visual Storytelling Workshop with David H. Wells and has gone on to develop a number of photo stories in addition to her ongoing paid client work
Reflection by Kathryn
I signed up for David Wells’ Storytelling, Photo Essays, and the Personal Project workshop at RICPA on a bit of a whim. Although I understand the value of personal projects—where I can work with fewer constraints and develop my own photographic voice—I struggle to prioritize them amid the demands of client work and family life. I hoped the workshop would give me the structure and deadline I needed to focus on a personal project. It did that and more. We learned how to formalize a project proposal, curate, and sequence our work. The workshop also generated new ideas for presenting our work and exploring potential outlets, making it an invaluable experience.
About Kathryn:
Kathryn Wallace Yeaton is a documentary photographer inspired by the dynamic relationship between humanity and nature. She is interested in both untouched landscapes and those altered by human activity, with her personal projects often exploring the connection between the two.
She also owns Brave Hearts Photography, where she specializes in documentary wedding and family photography. Recognized as one of the top 100 wedding photographers in the world, Katie uses her artistic vision to capture intimate and heartfelt moments for her clients.
Outside of photography, Katie is an avid gardener and a member of the University of Rhode Island Master Gardener program. She volunteers her time and skills to support garden-related non-profits.
Katie lives in East Greenwich, Rhode Island, with her husband, son, and two rescue dogs.
Website: kathrynyeaton.com
The RI Center for Photographic Arts, RICPA 118 N. Main St. Providence, RI 02903
Located in the heart of Providence, RICPA was founded to inspire creative development and provide opportunities to engage with the community through exhibitions, education, publication, and mutual support.
RICPA exists to create a diverse and supportive community for individuals interested in learning or working in the Photographic Arts. We strive to provide an environment conducive to the free exchange of ideas in an open and cooperative space. Members should share a passion for creating, appreciating, or learning about all forms of photo-based media. We work to provide a platform for artistic expression, that fosters dialogue and drives innovation in the photographic arts.
We are member supported, the first step to membership is registration – https://www.riphotocenter.org/registration Details on membership options can be found at https://www.riphotocenter.org/membership-info
The Gallery at the Rhode Island Center for Photographic Arts is a member of Gallery Night Providence https://www.gallerynight.org
Questions: Contact gallery@riphotocenter.org To learn about other RICPA exhibits and programs, visit https://www.riphotocenter.org
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