“Instead of approaching these procedural steps as expected, my action might be more evident, or less correct. As opposed to painting, which is considered to be an accumulation of a set of decisions, photography is classically thought of as a picture made by a single decision […] For me, the state of the photograph is much more in the physical object and I tend to think about all of these steps as stages of production.”
“Much of my work deals in some way with the idea that nothing is fully knowable.”
It almost goes without saying that we now live in an environment totally saturated by various forms of media; indeed, in the early years of the 20th century this was a defining feature of modernity as such, the then relatively new intensity with which visual representation had permeated our cultural space - and the development of college art seems to have been a very clear response to this change. With the rise of digital technology that “saturation” has, over the last several decades, reached an almost unprecedented level of excess. The playfully associative work of Isabel Reitemeyer grapples with how best to encapsulate our present landscape of renegade signs, even as it returns to them an explicitly material presence, creating an often absurdist drama within these spaces that seeks to rival the intensity of those informational streams that we are now surrounded by; reality itself has become a sort of collage, and here is an overview of that same disorientating process.