evan la londe

Evan La Londe: Conceptual seduction

An Interview with the artist

By GRAHAM W. BELL

Back in the gray days of late February, I got to sit down with Portland photographer Evan La Londe to talk about his work, his then upcoming show at PDX Contemporary Art (“New Work”, 2012), and his past exhibitions at both the Lumber Room (“Terrain Shift,” 2012) as well as Autzen Gallery as part of his MFA thesis at Portland State University (“A Camera is a Room,” 2012).

Since our chat, La Londe has continued to explore new methods of making photographs. His investigation into the use (or emulation) of light continues to result in conceptually challenging but straightforward work that often belies his intense studio practice and experimentation. He recently participated in “The City and the City” at LxWxH Gallery (Seattle, WA), a group exhibition curated by Portland artist Daniel Glendening. He will be working this summer in collaboration with Paintallica in a show opening August 10 at Rocksbox Fine Art.

Primarily a studio artist, La Londe works with the idea of photography as not limited simply to camera, emulsified paper, and light. Our conversation centered around some of his earlier MFA works and the exploration of the core principles behind the camera obscura and the personal relationship he feels toward the space of the camera and that of the studio. From there we dove into his feelings on teaching, Polaroids and the ever-growing sense of distance between the object, the image and the artist. La Londe’s practice is one heavily influenced by the history of photography both as an artistic medium and a scientific procedure. The viewer, lured in by aesthetic beauty, finds themselves enthralled by the ever-growing complexity of his seemingly simple compositions.

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