Janet Matthews Talks Vignettes

MEG member Janet Matthews' new show, Vignettes, sparks your imagination and encourages you to tap your inner child. Intuitively arranging miniature objects into individual vignettes, Matthews has given us a stage to imagine our own moments and stories. Matthews provides some insights into the exhibit and the processes behind it:

1. How did this project begin? Did you know you wanted to create these vignettes or did you start with individual photographs that began to coalesce as a series? While working on a previous series, I had acquired and borrowed a number of vintage objects that included some toys. These toys did not seem to work well for that series, but had a special quality that made me want to photograph them. I played with some ideas and after a number of experiments, ultimately decided to create formal, staged portraits of the toys. It was at this point that the work coalesced into a series, but the concept continued to evolve as I worked (played) with the objects. I found that I was reminded of childhood imaginative play. I tried to tap into that sensibility - find my inner child you might say.

2. There is a strong narrative element associated with the images. Is there a specific story you wanted to tell with each image and/or the series or did you construct them to encourage viewers to develop their own interpretations? While staging these shots, I found that an occasional narrative sensibility crept into some set-ups. In creating the arrangements, I tried to work on an intuitive level. Rather than attempting to illustrate a specific story, I was more interested in how the toys played off each other. I tried to suggest possibilities instead of specific outcomes.  I like to view work that does not explain everything to the viewer but instead initiates a dialog with the viewer. So yes, I do want the viewers to develop their own interpretations within this framework that I have presented.

3. Some have described the images as humorous; others see an edge and a bit of creepiness. Where did you obtain the toys you incorporated and decide on the stages you used for the vignettes? Some of the toys are recent acquisitions, found at estate sales or borrowed. Others are items that I have collected over time. I’m fascinated by miniatures and went through a dollhouse phase. I never finished the dollhouse, in fact it’s still sitting in my basement, patiently waiting for me to return. I am drawn to objects that do not suggest a specific time or place. I particularly like items that have evidence of wear and tear, that have obviously been used by others. And I guess I like slightly creepy miniature figures – people as well as animals. I think the edgy quality in some of the images creates a sense of uncertainty, while the humor reassures.

As for the “stage sets”, I used what I had at hand. I have quite a few old wooden boxes and they served as most of the stages and structures. If I wanted a backdrop or curtain, I would try a scarf or other bit of fabric. The goal was to suggest an environment rather than create a realistic setting.

4. You chose to make these palladium prints. What about the palladium process did you think made it the right choice for this project? I am actually quite enamored with 19th century photography processes. Coming from a studio art background of drawing and painting, I attach some importance to the hand of the artist being within the image, whether or not it’s obvious to the viewer. Palladium is a process that involves hand-coating a light-sensitive emulsion onto the paper. Another aspect of a palladium print is the way the image sits within the paper rather than on top of the paper. This characteristic along with palladium’s long tonal scale creates an image with a quiet presence that I felt was appropriate for the work.

5. Would you share some thoughts on why you chose to present your images as small images in large frames rather than as large prints. What impact does a small image in a larger frame have on a viewer? I initially thought I would make large prints from these images of tiny objects, to play with the idea of scale. But I found that the larger size did not add to the image, in fact seemed to detract from it, seeming to remove any sense of mystery. As I develop a project, I often make proof prints for myself on 5x7 paper. The proof prints of these images, printed at 4x5” just felt right. They were much more intimate and quiet and almost object-like in and of themselves, than were the large scale prints. I chose to use large mats as a method of encouraging the viewer to move in close and spend a bit more time with each image.

6. Will we see more of this type of work from you? I do not see this series as complete. I am planning to continue making images that, hopefully, will pick up where I left off and continue to evolve. I am not done playing. 

Vignettes can be seen daily through February 12, 2012 at Multiple Exposures Gallery in Studio 312 at the Torpedo Factory Art Center. A reception will take place on Saturday, January 14th from 3-5 pm.