A.P. (no. 14)
- Artwork Info
- About the Artist
- About this Photograph
- Artist Docs
Archival pigment print
Edition of 4 (#4/4)
The minimalist, formal beauty of Shirreff's works belies deeper questions about the often paradoxical relationship between time and space and the image, and the impact of perception on the location of meaning.
Erin Shirreff was born in 1975 in Kelowna, British Columbia. She earned a BFA in visual arts from the University of Victoria, British Columbia, in 1998, and an MFA in sculpture from Yale University, New Haven, Connecticut, in 2005. Shirreff’s work in photography, video, and sculpture reflects on the distance between an object and its representation, exploring the capacities of photography in conveying a sculptural experience.
Since scale and presence were central concerns of much mid-century abstract sculpture, Shirreff often draws on images of such works as she explores the disjunction between photographs and their subjects. Sculpture Park (Tony Smith)(2006), Shirreff’s first video work, features small cardboard maquettes the artist made of five Tony Smith sculptures. Filmed against a black background, their dark forms become discernible only as “snow” (Styrofoam) slowly accumulates on their surfaces. For subsequent video works, including Ansel Adams, RCA Building, circa 1940 (2009), Roden Crater (2009), and UN 2010 (2010), Shirreff photographed printed pictures of her subjects—often landscapes or iconic modernist buildings—under varying lighting conditions in the studio, inputting the resultant images into video editing software. These videos appear at first to be long, static shots of the subjects pictured, but eventually belie their own artifice as the viewer becomes gradually aware of the texture of the image surface. Shirreff’s interest in the photographic representation of large-scale abstract sculpture is further reflected in her A.P. series (2012–14). These photographs conjoin two half-images of miniature sculptures Shirreff crafted to echo the visual vocabulary of artists such as Alexander Calder, Anthony Caro, or Tony Smith. The prints are folded at the seam of two images, suggesting a double-page spread of a book.
Shirreff’s work has been the subject of solo exhibitions at the Institute of Contemporary Art, University of Pennsylvania, Philadelphia (2010); Chinati Foundation, Marfa, Texas (2011); Yerba Buena Center for the Arts, San Francisco (2013); Contemporary Art Gallery, Vancouver (2013); and the Institute of Contemporary Art, Boston (2015). Her work has been featured in group shows such as Knight’s Move, SculptureCenter, New York (2010); Greater New York, MoMA PS1, New York (2010); The Anxiety of Photography, Aspen Art Museum, Colorado (2011); and Photo-Poetics: An Anthology, Solomon R. Guggenheim Museum, New York (2015), among others. Shirreff lives and works in New York.
Shirreff’s interest in the photographic representation of large-scale abstract sculpture is reflected in her A.P. series (2012–14). These photographs conjoin two half-images of miniature sculptures Shirreff crafted to echo the visual vocabulary of artists such as Alexander Calder, Anthony Caro, or Tony Smith. The prints are folded at the seam of two images, suggesting a double-page spread of a book.
Artist CV (PDF)
Artist Bio (PDF)