September 27 - November 22
"Our mission in creating this installation was to inspire visitors to explore the impact of genomic sequencing, evolution, and model organism research on our lives. We want you to see yourself in each of these panels and to reflect on your similarities and differences."
Lauren Semivan, Sight's Periphery
Artist statement: The camera exists as a tool for investigation of the limits of our vision and comprehension, or, as László Moholy-Nagy has said, to offer us “eyes outside our bodies.” Artists, like physicists, are compelled to study forces running counter to the visible. Through the process of photography, I continuously question the world and my own experiences. I engage a large-format view camera as a tool for both precision and abstraction. These images are the result of an investigation into the invisible: an identification and interrogation of potential signals.
My ongoing body of work has evolved through intense contemplative study and manipulation of a hand-built, sculptural environment. Within this constructed space, photographs transcend consensus reality, blurring boundaries between real and fictitious worlds. Compositions evolve, are photographed, and then devolve into the next image. Materials and objects photographed are discarded, secondary to the photograph itself. Images are printed in silver gelatin, in dialog with an established continuum.
In the process of making photographs, I am waiting for that invisible thing, which is at once unseen and everywhere. I consider photography to be both a tool for escape, and an instrument for self-knowledge: a door into the dark.
Two years after graduating from DePauw University in 1953, Bruce Walker became a case officer with the Central Intelligence Agency. As a CIA officer, Walker participated in the Tibetan resistance project (code name ST CIRCUS) in its earliest stages, only six years after the Chinese People’s Liberation Army invaded Tibet and captured the capital city of Lhasa.
He assisted with training the Tibetan militia for eight years (1960-1968), and supported the program from two fronts: Sikkim, India, and Eagle County, Colorado. During Walker’s time in India, he assembled a collection of twenty-six religious objects. Many of the objects are purely for ritual and monastic use, whereas others are meant for an individual’s personal devotion. To this day, the spiritual connection between these objects and their Tibetan Buddhist roots remains clear.
In 2002, Walker donated his 66-piece collection of Tibetan thangkas, works on paper, and religious objects to DePauw University. Peeler Art Center Director and Curator Craig Hadley and DePauw alumnae Ashlyn Cox ’18 and Amelia Warren ’17 curated the exhibition, on loan from the University.