Submissions, Shows, Or Exhibitions.

About a month ago, I went to Rumors and kindly asked the owner of the place to allow me to hang a piece of work there, and the reply was yes. Although it was hard to locate a place that would fit my piece, I finally found one. With a little help from a tall friend, I was able to successfully hang one on their brick wall. It is a matted piece of individually cut and customarily arranged photographs two inch by two inch, 9 images by 11 images if I remembered correctly. They are arranged by overall color and flow semi-fluidly due to the small scale. It can be looked at as a small portion of a larger mosaic piece.

The all the individual photographs are taken by me. They are a small cumulative bunch, obtain over the years. They images are small tokens of memories from the places I've been. They are pieces of collected experiences as well as moments that I have encounter in life. I just to be able to share a little bit of that with others, and show them the vast vibrant colors that exist in every day that sometimes we forget to see, through all the filters that sometimes blind us in life.

Also, I have stumble upon a wonderful opportunity to have my works displayed at Crossroad Coffee and Ice Cream Shop on 26 N. Morris St. I am schedule to have the whole month of September to present my work there. I look forward to all the hard work, preparation, and arrangements to have everything ready and perfect by then.

Art for September 2009

Tuesday, April 28, 2009 7:49 PM

From:

"Jeffrey Kroll"

To:

lanvi@lanvi-nguyen.com

Lanvi...

Thanks again for coming in today. I checked out your website and am excited to have you show your work in my shop. As discussed, I have reserved September for you. Although I'm certain that we will see each other well before then, let's touch base in August to confirm that everything is still a go.

Thanks, and please let me know if you have any questions or concerns!

Jeff Kroll

Crossroads Coffee and Ice Cream

26 N. Morris St

Richmond, Virginia 23220

ph# 804.355.3559

fa# 804.355.3510

"The Transition From Point A to Point B"

This is the accompanying text for a new series I am working on.

A single photograph most commonly portrays a sliver of time or a second of the larger event. A series of photographs taken of a single event, periodically spaced, becomes a stop-motion animation. A stop-motion photographic animation, strung together, flattened, and compressed back into a single image renders and becomes a recording of the entire event. The process then becomes this invasive step that a two dimension image takes, rendering itself as the visual representation, referencing the third dimension and incorporating the fourth dimension, time. The single image now not only presents a sliver of time, but a visual duration of the event in its entirety. The image no longer portrays a second of an event, capturing only point A or point B in the event, but the complete fluid transition from point A to B.

Resume

Lanvi T. Nguyen
1234 Name of Street, City, State Zip Code
(Home Number) - (Cellphone Number)
lanvi@lanvi-nguyen.com

objective
Strong foundation in digital and film photography, commercial photography, and computer applications complemented by knowledge of business operations and the need for customer-focused service. Seeking freelance projects, expanding job description boundaries, volunteering, and being selected for positions of responsibility within chosen field.

summary

- Experience with digital and film photography, black and white film processing and printing, studio lighting
and setups, digital post-processing (editing, touch-ups, formatting, printing), designing and laying out
marketing materials, creating stop-motion animation using photographs.
- Well developed social skills, ability to spontaneously and efficiently work, learn quickly, keeping positive
energy and displaying high level of proficiency.
- Experience of professional level presentation and visual displays; immaculate, customized, well designed
matting, mounting, framing, and laying out collages.
- Knowledgeable use of commercial and film/ digital studio portraiture, architectural and food photography,
still life imagery, product advertising, etc.
- Promote positive customer relationships by focusing strong attention on meeting customer needs and
ensuring their satisfaction.
- Experience with the sound and music aspect in short movie clips, recording voice overs, instrumental
soundtracks, and sound effects specifically for individual projects.

software & equipment
- Adobe Photoshop CS3, Adobe Flash CS3, Adobe Illustrator CS3, Adobe InDesign CS3, Microsoft Office,
Apple - iMovie (Mac)
- Nikon D80 (Nikon Digital Systems), Nikon FM10 (35mm Film), Hasselblad 500C (Film Medium Format)

experience
2006 - 2008 BeeryRio Architecture and Interiors Inc., Springfield, Virginia:
Intern Graphic Designer/Photographer for the Marketing Department
- Designing layouts for brochures, booklets, calendars, CDs, buttons,
and other marketing collateral.
- Photographing exteriors and interiors of architectural projects, editing, and incorporating
photographs into collateral materials.
- Filming, directing and making promotional movie clips for the firm and its projects,
stop-motion animation of projects, recording voice-overs and composing instrumental
soundtracks for the movie clips.
- Adept at communicating and working efficiently and orderly with team members and others.

education
2003 - 2007 J. W. Robinson Secondary School; Fairfax, Virginia
- International Baccalaureate; Advance Diploma (3.25 GPA)

2007 - 2011 Virginia Commonwealth University; Richmond, Virginia
- Bachelor of Fine Arts in Photography and Film

Amy Stein.

There was a recent lecture given by a "late-bloomed" photographer, Amy Stein. Her photographs might not be so glamorous and technically advanced, but the stories behind each one brought out the elements that make her photographs worthwhile to look at. In both her "Domesticated Series" and her "Stranded Series", the two have many similar ideas and concepts, one being an idea of back-and-forth ambiguity. What I enjoy about the two series, is that there's a sort tension, a tug, a struggle in defining the boundary between two opposing groupings. The tension is what makes the series intriguing. As a viewer, I feel myself being pulled from one side to the other, validating the truth that is brought out about society in her photographs.


In the 'Domesticated Series', there exists a sort of irony, subtle but definitely something that can be gather together after viewing the series. "I examine the primal issues of comfort and fear, dependence and determination, submission and dominance that play out in the physical and psychological encounters between man and the natural world. These encounters take place within the artificial ecotones we have constructed that act as both passage and barrier between the domestic space and the wild." These barriers are visible in each photograph, but the beauty about it is that it is subtle, taking the form of a plastic bag or the distance between the two subject. Or it can be as clear as a fence or cage. The versatility in her imagery make the work seem less structured, even though her approach to the project is specific and formulated.

In the 'Stranded Series', I find her audacity to stop along the road to any "stranded" person in distress due to transportation issues, offering them help, but the thing that stands out even more is the courage and nerve it takes to ask for their permission to be photographed. There are signs of mistrust, a strained and limited relationship that occurs. The approach to this series is something to contemplate about. Every encounter is tense and unique, circumstances differ from one to the next and the inherent danger of the roadside environment gives it an unusual characteristics that breathes beneath the surface.

Paul Shambroom.

"Artist and Photographer Paul Shambroom explores America's power and culture through it's democratic, economic, and security institution."


It wasn't his photography that caught my attention, but his inquisitive nature that brought me to appreciate why he photographed what he photographed.

"My fascination and curiosity is driven by these questions:
-Our nation is once again at war, with daily casualties. What can these relics of previous wars teach us about America's (and humanity's) proclivity for armed conflict?
-Why is a machine that was made for killing used as a memorial to the dead? Does it help a community mourn and heal from its losses, or is it intended to inspire new generations of warriors? Can it do both?
-As these weapons age, their surfaces weather, and their technologies become obsolete, do they lose their associations with death and warfare?"

Another element in his photographs that evoked interest is that some of his images elude to previously existing artists, such as the first image to the left makes reference to Jack Pollock's painting, the two middle images have characteristics that references the Last Supper, and the far right image referenced to the Beatles's Abbey Road. Just little quirky details and attention that are captured in his images makes the subject a little more easy to deal with. I like the amount of curiosity and contemplation he puts into his work. It makes me wonder about the answers to those questions that he posed. Why would you put a machine that was made for killing used as a memorial for the dead?...

Christopher Quirk.

"I direct the focus in my paintings to the viewer experience, and away from the notion of the painting itself as a bearer of content. Discordant components and qualities in each painting pose questions for the viewer, suspending resolution, and provide a space for the viewer’s own meditations. The idea is to give, not tell, and for the painting to provide an experience that unfolds over time."


I'm not sure to how to react to this, all I can say is when I see paintings that I can remake and do better, there's not much after thought that I give to it. I am intrigue by the texture, but at the same time repulse by it. The color choice did not appeal to me, they were neither vibrant, complementary or even close to it; it had the color pallete of hospital walls and vomit. Perhaps like he said, maybe over time, some meaning or feeling or something will be experienced.

Emmet and Elijah Gowin: Maggie.

I must say, I honestly did not find myself very attached to these images. I took them for what they were, a series of intimate photographs that has this strange nostalgic dark vibe to it. They has interesting elements that were included in certain photographs such as the glass, the strange round objects, the organic wire and paper structure added some interest to the photo. Without those it would be nothing but snapshots. It helped that there were these strange, unrecognizable objects placed in the photograph and also as the subject's point of interest as well. Because the subject is so mesmerized by the object beside her, it makes the viewer take a closer look as well. The photographs were black and white, which made wonder why not color? Certain images are very busy and detailed.

I noticed that in this body of work, there were mostly two types of images. First there were the tight crop, precise point of focus of round kitchen items, and the attention to the hand and how it interacts with the item; slow reaching for it or anticipation in touching it.


The second kind of images were images that were predominately dark, vignetted and portray of a very odd scene, a scene that makes me feel like I was intruding and seeing something I was not meant to see. It has an eerie feel to it.
Overall, the space and the presentation of the images were efficient and successful. The photographs were contained in a simple, light wood frame, evening spaced and hung.

Alix Pearlstein.

Alix Pearlstein is a Photography and Film artist. She also dwindles in sculpture and dance choreography. Some of the pieces shown at her lecture were: Two Women, Episode, Forsaken, After the Fall, Goldrush, and Distance.

"Alix Pearlstein uses everyday objects, toys, and pop cultural references to create ironic meaning through association. Characterized by dry humor, and a deliberately low-tech aesthetic, her approach is direct, raw, and intimate."
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I must say I was not impressed with the works that were shown at the lecture. I think her ideas and her concepts are intriguing and have the potential to be portrayed in a way that doesn't render it to be one of those "experimental" piece. Those that require a whole lot of explanation to cover up for the lack of aesthetically pleasing value. The clips that were shown had similar technical aspects that were tied through all such as the shaky hand-held camera effect, layers and layers of dubbing, the overly exaggerated sounds of body movement and expressions, the multi-channels shown side by side, the clean white over exposed background, etc. All of these things are interesting, innovative techniques that can be applied to film making. For some reason I feel like her choice and combination of the techniques do not compliment well with her concept. This feeling might be from the result of the artist not explaining and expressing her process of thoughts well. Pearlstein seemed extremely nervous and seemed to be a little bit lost on her own work. Perhaps at a smaller more intimate setting the artist can better explain her thoughts and explain her choice of techniques and aesthetic value to portray her concept.