Substrata

Gina Osterloh
EPOCH Gallery

About

    SUBSTRATA is in collaboration with the Los Angeles Museum of Art (LAMOA). The pavilion was built by Alice Könitz (LAMOA). The context created by Peter Wu+ (EPOCH). Featureing works of Patricia Fernandez, Nikita Gale, Won Ju Lim, Gina Osterloh, Paul Pescador, Kristin Posehn, Gabie Strong, Sterling Wells, and Haena Yoo.

    Gina Osterloh's photographs activate a multiplicity of visual strategies that interrupt the inherent process of identification embedded in the act of looking. From simply turning her head away from the camera, to wrapping her entire body in tape, the artist consistently resists preconceived notions of race and gender, while embracng emotive textures and surfaces, as well as spatial relations of volume and flatness.

    Representation, reproduction, presence, absence, and erasure are wrapped and bound in the photographs Holding Zero (2020). In Holding Zero black tape winds around the artist's entire body, which is then presented as a replica with the artist's freed arms and legs holding her anonymous mummified form. As with Gina Osterlosh's early tableaux, a symbiotic relationship between figure and space is formed by a shared material- in this instance the tape which binds and conceals her body, provides structure to the surrounding space, extends across walls and floor through an organic pattern. In Grid Eyes (2020) the figure is absent yet hundreds of eyes at crosshairs of each vertical and horizontal line, peer back at the viewer.

    In portraits such as Shutter Vision, Mirror Woman, and Obliterate (2019-2021) the juxtaposition of presenting a body that "denies legibility" is further distilled. Of all genres of photography, portraiture most directly sets up expectations to identify and place a person into a paradigm of social constructs. In Shutter Vision, Osterloh further plays with the operations of photography by holding the shutter release cable in her mouth, closing her jaw, and biting down to create the image. Throughout all of Gina Osterloh's photographs - we are reminded that looking does not reveal knowledge - but rather an uneasy and unstable field in which pleasure, pain, identity, and ideologies are thrown into question.

SUBSTRATA is in collaboration with the Los Angeles Museum of Art (LAMOA). The pavilion was built by Alice Könitz (LAMOA). The context created by Peter Wu+ (EPOCH). Featureing works of Patricia Fernandez, Nikita Gale, Won Ju Lim, Gina Osterloh, Paul Pescador, Kristin Posehn, Gabie Strong, Sterling Wells, and Haena Yoo.

Gina Osterloh's photographs activate a multiplicity of visual strategies that interrupt the inherent process of identification embedded in the act of looking. From simply turning her head away from the camera, to wrapping her entire body in tape, the artist consistently resists preconceived notions of race and gender, while embracng emotive textures and surfaces, as well as spatial relations of volume and flatness.

Representation, reproduction, presence, absence, and erasure are wrapped and bound in the photographs Holding Zero (2020). In Holding Zero black tape winds around the artist's entire body, which is then presented as a replica with the artist's freed arms and legs holding her anonymous mummified form. As with Gina Osterlosh's early tableaux, a symbiotic relationship between figure and space is formed by a shared material- in this instance the tape which binds and conceals her body, provides structure to the surrounding space, extends across walls and floor through an organic pattern. In Grid Eyes (2020) the figure is absent yet hundreds of eyes at crosshairs of each vertical and horizontal line, peer back at the viewer.

In portraits such as Shutter Vision, Mirror Woman, and Obliterate (2019-2021) the juxtaposition of presenting a body that "denies legibility" is further distilled. Of all genres of photography, portraiture most directly sets up expectations to identify and place a person into a paradigm of social constructs. In Shutter Vision, Osterloh further plays with the operations of photography by holding the shutter release cable in her mouth, closing her jaw, and biting down to create the image. Throughout all of Gina Osterloh's photographs - we are reminded that looking does not reveal knowledge - but rather an uneasy and unstable field in which pleasure, pain, identity, and ideologies are thrown into question.

Installation Views

Works

Gina Osterloh
Grid Eyes
2020
5695
2
Archival pigment print
43 x 53.5in
-1
0.00
PHP
0
Details
Gina Osterloh
Holding Zero
2020
5693
2
Archival pigment print
43 x 53.5in
-1
0.00
PHP
0
Details
Gina Osterloh
Holding Zero #2
2020
5694
2
Archival pigment print
43 x 53.5in
-1
0.00
PHP
0
Details
Gina Osterloh
Shutter Vision
2020
5690
2
Archival pigment print
31h x 22 in
-1
0.00
PHP
0
Details
Gina Osterloh
Mirror Woman
2020
5691
2
Archival pigment print
31h x 22in
-1
0.00
PHP
0
Details
Gina Osterloh
Obliterate
2019
5692
2
Archival pigment print
31 x 22in
-1
0.00
PHP
0
Details
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