I am honored to have been selected as one of twelve photographers to be published in the Fotofilmic Spring 2020 JRNL 4 edited by Katherine Harris Pomerantz of TIME. Pomerantz selected an ongoing series titled ‘Habitual Tendencies’ in which I am exploring the result of routine: subtle inclinations that are imprinted in our minds, our environment. These images are products of my unquenchable curiosity in the world around me.
Pomerantz’ caption accompanied my images reading, “”A curiously placed surveillance camera, a staircase leading into murky water, a neighborhood shack emanating a strange orange glow from within. Each image raises more questions than answers, and allows the viewer to enter a liberated state of childlike wonder. Bowen’s work is an important reminder that sometimes all it takes is curiosity to extract the extraordinary from the ordinary.”
When I was exploring topics for my thesis the idea of habits was something that kept grabbing my attention. I felt inspired by memories of tire tracks in the grass in front of the mailbox of my childhood home, sun-bleached and worn down by the postal person’s 6 day week: the tan lines from tank tops and bathing suits that summer left behind: the way my walk wore down the soles of my shoes at an angle that eventually made it necessary to retire them. These memories felt impossible to document and portray in an ambiguous way that would allow others to connect to them. In 2019 I joined a critique group in Portland with the intent to focus on cohesive imagery. This allowed me the opportunity to reflect on the work I have been making post thesis and it was there I noticed I had subconsciously found a way to document those habitual tendencies.
There’s something nostalgic and timeless about being a passenger, an observer, on the open road. In this seat you have no control of time; how it speeds up and slows down, how the lines all blur together only to come into focus somewhere along the horizon. From this seat you have the freedom to daydream, to lose yourself in the unknown. It was from this seat that I watched as the landscape shifted elevations and the sky opened up from a dark grey to a bright blue over golden fields that seemed to have no real end. I dreamt of the point where these lines would intersect, who and what I would find there, and how I would convince myself of coming back.
From the ongoing series ‘Far From Home’, a collection of landscapes created in response to feeling as if you are witnessing a scene for the first time, while simultaneously cultivating a sense of familiarity. Each image proposes to the viewer a look into one’s own memory, that perhaps in some sense, we have been here before.
This image was selected to participate in The Road exhibition as part of a digital slide show curated by Dana Stirling & Yoav Friedlander of Float Photo Magazine hosted at the JKC Gallery in New Jersey. It was a pleasure to have had my work reviewed by both curators and selected for inclusion. The images all work so well together and have left me feeling invigorated, ready to get back on the road to nowhere and everywhere. Follow the link to view the online exhibiton. The slideshow has been embedded for your enjoyment. Thank you FLOAT Photo Mag.
“The Road” exhibition collected images from 46 artists from across the country to create an exhibition that celebrates, highlights and explores the American road and all that it in-tells. The exhibition will survey the notion of the American Road. The road is an iconic theme that runs in some of the best and well known American photographers work such as Stephen Shore, Ed Ruscha, Alec Soth and many others . Photographers have traveled these vast landscapes and across thousands of miles to document this country and all that surrounds the road; the landscape, the gas stations, the motels, the diners and everything that comes by its side and its lifestyle. - FLOAT
I grew up warm blooded and barefooted in the southernmost US state where the idea of seasons was two dimensional to me. Since relocating to the West coast I have had the pleasure of reinventing my idea of winter and seasonal shifts in their entirety. One of my images titled “Seasonal Depression” was included in a representation of this magical transformation.
One of my favorite observations in group exhibitions is how the images work together to tell a story, what they say on behalf of one another, and how they may fill in the gaps that others create. This collaboration is one of my favorite ways in which I find inspiration. Viewing the work of others is vital to the process of creating work for yourself.