Born in Duluth, Minnesota, Kathy Lovas first graduated from Major’s College where she majored in biology. Nevertheless after this first encounter with science she decided to pursue a creative career where photography became the cornerstone of her expression. Her work was recently acquired by an important company, helping her to pave her way through the corporate art world.
Regarding her artistic practice, photos from family albums retrace the artist’s intimate familiar history unveiling a parcell of her identity. In the manner of vernacular photography, Lovas analyzes images’ repercussion and role in our lives. Company House, an installation exhibited at the Arlington Museum of Art in Texas investigated the symbols behind the photographs and their evolution over the years. With an aesthetic resembling at times the surreal takes of Man Ray such as in M-TRAIN or Seagoville Assignment: Repatriation Lovas expands upon this medium’s legacy.
Archive, artwork or footprint, photography has a versatile nature enabling Lovas to experiment at her own will. Moreover her oeuvre references not only the photographic field but art history at large, her piece Dining Room Chair echoes Joseph Kosuth’s artwork One and Tree Chairs while questioning object’s role within the image. Seemingly for Lovas, photography goes beyond the 2D surface diverging with purist’s opinion, the medium can be material and conceptual.
Last year she had an exhibition at the Liliana Bloch gallery in Texas in which she presented her work I’m So Glitché in which she made allusion to the mistakes or malfunctions on digital technology. Using digital tools, Kathy Lovas reconstructs the image while pondering on the future of the latter.
Clémence Danon Boileau’s photographs bear witness to the set of choices she exercised in her everyday life. Her sombre use of colour and lighting speaks of a silent tragedy affecting every single one of us.