Artist Statement

For the time being

At this point in history, Americans, particularly women, find themselves revisiting dilemmas about work and marriage, careers and equality. Women who came of age believing they could be all and have it all are reconsidering their choices, questioning traditional assumptions as well as once-radical alternatives.

Scholars and the mass media have examined these questions at a macro level in their research and articles. I seek to portray real women facing these diverse and profound personal choices as they approach their 30s, and explore how their lives have changed as a result of them. Each woman is finding answers in a particular and personal way, and my photographs depict women as individuals, often in the sanctums of their homes or work places, alone or with the persons with whom they share their lives.

This body of work plumbs the nature of relationships between women and their careers, their children, and their domestic partners. The ambivalence of these peculiar situations prevails as a theme. This work attempts to bear witness to what it is like to be a woman in this provisional moment, living for the time being.

* See, for example: Julie Bosman, “Stuck at the Edges Of the Ad Game,” The New York Times, November 27, 2005; Maureen Dowd, “What's a Modern Girl to Do?” The New York Times Magazine, October 30, 2005;
Allison Pearson, I Don't Know How She Does It. New York: Random House, 2002.

Sub-Reality
This body of work represents my study of the way we see/interpret our everyday,surroundings.These photographs investigate our perceptions; what we see and how we perceive a subject does not always correlate. I wanted to capture a significant portion of a person's daily commute with a handheld camera. By slowing down my underground commutes (New York City subway system), my walks in different parks, and my interactions with people, I was able to see something extraordinarywithin the ordinary, which I felt needed to be recorded. We encounter these items, persons or images in our everyday transits, but we are rarely aware of them. In these photographs, I abstracted the subjects down to basic elements of geom etric shapes, swirling forms, points of light and shadows. This method of photographing depicts the presence and importance of minute details as integral components of the objects and persons. By abstracting the subjects of my photographs, I am allowing a new reality, what I think as the subconscious reality to emerge.

For the time being At this point in history, Americans, particularly women, find themselves revisiting dilemmas about work and marriage, careers and equality. Women who came of age believing they could be all and have it all are reconsidering their choices, questioning traditional assumptions as well as once-radical alternatives. Scholars and the mass media have examined these questions at a macro level in their research and articles. I seek to portray real women facing these diverse and profound personal choices as they approach their 30s, and explore how their lives have changed as a result of them. Each woman is finding answers in a particular and personal way, and my photographs depict women as individuals, often in the sanctums of their homes or work places, alone or with the persons with whom they share their lives. This body of work plumbs the nature of relationships between women and their careers, their children, and their domestic partners. The ambivalence of these peculiar situations prevails as a theme. This work attempts to bear witness to what it is like to be a woman in this provisional moment, living for the time being. * See, for example: Julie Bosman, “Stuck at the Edges Of the Ad Game,” The New York Times, November 27, 2005; Maureen Dowd, “What's a Modern Girl to Do?” The New York Times Magazine, October 30, 2005; Allison Pearson, I Don't Know How She Does It. New York: Random House, 2002. Sub-Reality This body of work represents my study of the way we see/interpret our everyday,surroundings.These photographs investigate our perceptions; what we see and how we perceive a subject does not always correlate. I wanted to capture a significant portion of a person's daily commute with a handheld camera. By slowing down my underground commutes (New York City subway system), my walks in different parks, and my interactions with people, I was able to see something extraordinarywithin the ordinary, which I felt needed to be recorded. We encounter these items, persons or images in our everyday transits, but we are rarely aware of them. In these photographs, I abstracted the subjects down to basic elements of geom etric shapes, swirling forms, points of light and shadows. This method of photographing depicts the presence and importance of minute details as integral components of the objects and persons. By abstracting the subjects of my photographs, I am allowing a new reality, what I think as the subconscious reality to emerge.	About

	Resume

	Artist Statement

	Deborah Guzmán Meyer