Katharine Kreisher's "Self as Object"

On September 17th, professor Katharine Kreisher participated in the Hartwick’s Faculty Lecture Series in which she spoke about “Self as Object”- a theme that has been the inspiration for much of her work. I have been working with Kreisher on a number of projects and have taken several of her classes, so I have become quite familiar with her work; however, it was an enlightening experience to hear her talk openly and more in depth about her work. For the most part, Kreisher allows her work to be displayed and interpreted freely, permitting the viewer to create their own experience with each of her pieces. Even though through her talk Kreisher explained the process or steps in creating certain pieces, she still did not spoil this freedom of interpretation.

Kreisher’s photographs cannot be considered traditional photography. All her pieces are manipulated somehow whether she’s physically painting on them, scanning them, stapling them, tearing them, or using alternative processes. Despite the myriad of ways Kreisher plays with the picture-making process and the fact that she does not she ever show her face (or at least, a recognizable face) her work constantly goes back to a depiction and contemplation of self. Even her pinhole diptychs that, at times, fail to have any part of her in it, are still reflection of herself. Kreisher once explained in class that “all of your art inevitably becomes a self-portrait”. Kreisher fully embraces this idea and meditates on it while working, at times, she explained in the lecture; she creates a piece and then later realizes and recognizes what it truly means. Kreisher is able to use her body as a symbol for larger themes and narratives that express her emotive or spiritual statuses.

In one piece, “Self Portrait with Blue Fan” from her “Family Series”, a blurry Kreisher stands next to a wall of old, collected family photographs. Her hand movements and painted hand prints on the wall accent a photograph of herself as well as her father both at age twenty-five. This portrait becomes much more than just a document of what Kreisher looked like, and becomes a personal connection- or disconnection- between her and her father. Even though they share very similar appearances (especially at the same age), Kreisher explains this superficial connection was about the extent of their similarities- she was not particularly close to her father. To go along with this message, the photograph has a quite chilling quality about it. Though her features are evident, they’re fading into the background as are her hands and fan. It seems that, similar to the photographs of people who have passed behind her, she too will eventually be gone. All of Kreisher’s work holds a highly emotive quality about it which could be transmitted on a personal and universal level.

Kreisher ended her lecture by briefly touching on several other photographers that work with the self as an object. I found this quite interesting to see how other artists in the same medium address themselves as an object and the messages that they aim to transmit. For example, Tulu Bayar strives to show the similarities between social extreme differences- whether this is due to religious or cultural or racial differences. Laine Wyatt also explores the similarities between people but through a much more superficial and consumer-based exploration of women and their clothing.

Kreisher’s lecture was intriguing and inspirational. By allowing one’s self be the subject of their artwork forces the artist’s body to become the vehicle for a greater purpose. As a result, the artist places themselves in a highly vulnerable position. Kreisher beautifully embodied this in her work- especially in her “Family Series” and “What Ron Saw”. Kreisher allowed the audience to become part of her highly intimate artwork and also helped for viewers to understand how she utilizes herself as the object of both her past and present work.