Photographs by Lauren Shaw, Associate Professor of Visual & Media Arts, are on display in the Library for the Fall 2007 semester.
Artist's Statement
It is with great pleasure that I present a small selection of my work that spans thirty-three years. To have the opportunity to combine one's vocation with one's avocation has been a gift while teaching at Emerson College. Looking back at my work over a period of time gives clarity and understanding of my photographic evolution. Each body of work has always led me to the next project, which has been guided by my intuition and curiosity. The work is a response to the immediate world around me. I think of my work as autobiographical because of the way it resonates with my life. The power of the photograph to convey the evocative as well as the cerebral has provided me the means to express myself both as an individual and an artist.
September, 2007
My thanks to Bob Fleming and Emily Garner who made possible this exhibition as well as Maine Women: Living on the Land in the Huret and Spector Gallery. September 2007
Lauren Shaw
Storied landscapes: 1989-1994
In 1989 while using the Polaroid 20x24 camera in the studio, I was able to place clear acetates of my writing inside the back of the camera. Shortly thereafter, while traveling in the Southwest with my medium format camera, I began to see language everywhere not only in the written petroglyphs left by the Anaszi but in the layers of geology revealed in the landscape. As I looked through the viewfinder, I saw a new field in which to record my own stories.
Maps: 1977-1985
After working with the Diana camera for four years, I felt the need to get close and sharp again. I began by photographing myself and then extended to my family and friends. I wanted to be anonymous and personal simultaneously by getting closer than the eye can focus. This body of work began my interest in “mapping,” representing on a flat surface the whole or part of an area. These close-ups are suggestive of a map. The lines and marks on their faces are references to who they are.
Dianas: 1973-1977

By using a plastic camera, which was virtually unknown in 1973, I was able to free myself from the conventions of a sharp and precise lens. This enabled me to be more spontaneous in my shooting and more visceral with my content. I worked with the Diana camera for several years until I felt the need to get close and sharp again.