against the edge of the wall, neighboring a few snake vertebrae that appear to be conversing with the fish bones. Sellios looks at them, laughs, and calls them her pets. Her space is filled with both characters we’ve met in her photographs and new friends and creatures. Sellios refers to the installation of items pinned to a wall as a visual idea bank. Allowing herself some freedom from the timeline of creating works, she talks excitedly about overlapping projects and upcoming exhibitions. She hopes to incorporate an interactive element into an upcoming public presentation, and all I can imagine is sitting at a long table toasting the host with a piece of severed trout on my glass. Such is her imagery that it moves us from mundane to impossible.
DON’T TAKE PICTURES
She continues to make work that acknowledges death and the sacredness of independence. Her upcoming series is going to be lush, filled with an abundance of flora that signify revival and durability. A glimpse of new imagery is placed around the room. The palette is darker, listing in a gray scale spectrum. Later this year, Sellios is moving to a much larger, yet much darker, space, but she embraces it as something ‘cosmic.’ She knows where the final images will turn, but says, “I can’t do the end now.”
Frances Jakubek is Associate Director and Associate Curator of the Griffin Museum of Photography in Winchester, MA. As an artist she explores photographic media to understand an ever-changing visual language.
Above (from left)
Untitled No. 7 (from the series Retribution) 2011
Untitled No. 14 (from the series Lessons of Impermanence) 2010 Opposite
Untitled No. 8 (from the series Luxuria) 2013
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