Rosemary Warner has been around the block more times than we can count and she’s still standing, still shooting and still commenting mordantly on existence, which has always been her passion and obsession.
Rosemary is a Chicago based artist who employs photography in her image-making, but her work doesn’t fit certain preconceived categories within the photographic medium. Having spent many years as a painter, she often alters her images using toners and bleach after they have been carefully montaged together from several negatives. Her work revolves around the human body and is often printed life-size.
The boldest genre of late-twentieth century postmodern photography, the feminist self-portrait survives in the ceaseless experiments of Rosemary Warner, who began her voyage of self-discovery in the 1990s and has not yet stilled the agonies of existence. An inveterate postmodernist, Warner does everything from scratch negatives, pile multiple images into her compositions, segment her works, tone the aesthetic surface, deploy multiple exposures, and mix up her subjects—and that is only the beginning.
Following its tradition of mounting thematic group shows, the Collective comes up with its best effort to date in its decidedly adult paean to Halloween and horror. All eleven contributing photographers cut deeply and tellingly, with featured artist Rosemary Warner taking the existential honors with her layered and ominously dull brown-toned photo-works that combine images of a ubiquitous skeleton melded with or conjoined to shots of people who are still bedecked in their flesh. In Warner’s most grisly piece, “One Eyed […]
