Sink: Fatigue
Artist: Elizabeth Siegfried
Work ID: 71223
Description: From the series: An Hour of the Wolf: Nightmare Quadrangle
Old people call it "the hour of the wolf"
It's the hour when most people die,
when most children are born.
Now is when nightmares come to us.
And if we're awake.... we're afraid....
we're afraid....
Hour of the Wolf (1968) Ingmar Bergman
An Hour of the Wolf: Nightmare Quadrangle is a collection of narrative sequences: Unease, Clipped, Sink et Vigil. Each consists of juxtaposed images that create a travelogue of the psyche.
As self-portraits combine with landscapes and still-lifes, the nightmares in An Hour of the Wolf become both personal and universal in nature. Each depicts our apprehensions, a disquieting human situation, a period of unease. Each examines the thoughts and fears that may haunt us during an "hour of the wolf."
Unease explores loss of identity and self, entrapment and confusion and the line between what is real and what is imagined.
Clipped addresses the desire to escape and the realization that it is impossible.
Sink embodies the fears of hopelessness, of feeling overwhelmed and alone in quiet despair.
Vigil tells of waiting for something that never comes.
Des mesures : approx. 50.8 x 50.8 cm
Collection:
Date de réalisation : 2003
Matériaux : Iris print
Collection virtuelle : Original CCCA
Oeuvre d'art par Elizabeth Siegfried
Sink: Drained
Artist: Elizabeth Siegfried
ID : 71220
Description: From the series: An Hour of the Wolf: Nightmare Quadrangle
Old people call it "the hour of the wolf"
It's the hour when most people die,
when most children are born.
Now is when nightmares come to us.
And if we're awake.... we're afraid....
we're afraid....
Hour of the Wolf (1968) Ingmar Bergman
An Hour of the Wolf: Nightmare Quadrangle is a collection of narrative sequences: Unease, Clipped, Sink et Vigil. Each consists of juxtaposed images that create a travelogue of the psyche.
As self-portraits combine with landscapes and still-lifes, the nightmares in An Hour of the Wolf become both personal and universal in nature. Each depicts our apprehensions, a disquieting human situation, a period of unease. Each examines the thoughts and fears that may haunt us during an "hour of the wolf."
Unease explores loss of identity and self, entrapment and confusion and the line between what is real and what is imagined.
Clipped addresses the desire to escape and the realization that it is impossible.
Sink embodies the fears of hopelessness, of feeling overwhelmed and alone in quiet despair.
Vigil tells of waiting for something that never comes.
Des mesures : approx. 50.8 x 50.8 cm
Collection:
Date de réalisation : 1984
Matériaux : Iris print
Collection virtuelle : Original CCCA
Fist
Artist: Elizabeth Siegfried
ID : 2152
Description:
Des mesures : 12.7 x 17.78 cm
Collection:
Date de réalisation : 1988
Matériaux : platinum print
Collection virtuelle : Original CCCA
A Sense of Place #21: West Wind
Artist: Elizabeth Siegfried
ID : 2139
Description:
Des mesures : 40.64 x 50.8 cm
Collection:
Date de réalisation : 1991
Matériaux : silver print
Collection virtuelle : Original CCCA
A Sense of Place #6: The Point
Artist: Elizabeth Siegfried
ID : 2129
Description:
Des mesures : 40.64 x 50.8 cm
Collection:
Date de réalisation : 1991
Matériaux : silver print
Collection virtuelle : Original CCCA
A Sense of Place #2: Basswood Light
Artist: Elizabeth Siegfried
ID : 2125
Description:
Des mesures : 40.64 x 50.8 cm
Collection:
Date de réalisation : 1991
Matériaux : silver print
Collection virtuelle : Original CCCA
Double Exposure
Artist: Elizabeth Siegfried
ID : 2143
Description:
Des mesures : 10.16 x 12.7 cm
Collection:
Date de réalisation : 1992
Matériaux : platinum print
Collection virtuelle : Original CCCA
A Sense of Place #5: The Waldheim
Artist: Elizabeth Siegfried
ID : 2128
Description:
Des mesures : 40.64 x 50.8 cm
Collection:
Date de réalisation : 1992
Matériaux : silver print
Collection virtuelle : Original CCCA
A Sense of Place #4: Untitled
Artist: Elizabeth Siegfried
ID : 2127
Description:
Des mesures : 40.64 x 50.8 cm
Collection:
Date de réalisation : 1992
Matériaux : silver print
Collection virtuelle : Original CCCA
A Sense of Place #13: In Mama’s Mosquito Net Veil #2
Artist: Elizabeth Siegfried
ID : 2134
Description:
Des mesures : 40.64 x 50.8 cm
Collection:
Date de réalisation : 1992
Matériaux : silver print
Collection virtuelle : Original CCCA
A Sense of Place #19: Mama’s Couch
Artist: Elizabeth Siegfried
ID : 2138
Description:
Des mesures : 40.64 x 50.8 cm
Collection:
Date de réalisation : 1992
Matériaux : silver print
Collection virtuelle : Original CCCA
Hands
Artist: Elizabeth Siegfried
ID : 2148
Description:
Des mesures : 12.7 x 15.24 cm
Collection:
Date de réalisation : 1992
Matériaux : platinum print
Collection virtuelle : Original CCCA
A Sense of Place #17: the Big House Porch
Artist: Elizabeth Siegfried
ID : 2136
Description:
Des mesures : 40.64 x 50.8 cm
Collection:
Date de réalisation : 1992
Matériaux : silver print
Collection virtuelle : Original CCCA
A Sense of Place #18: With Mama’s Partridge Tray
Artist: Elizabeth Siegfried
ID : 2137
Description:
Des mesures : 40.64 x 50.8 cm
Collection:
Date de réalisation : 1992
Matériaux : silver print
Collection virtuelle : Original CCCA
A Sense of Place #10: Another Path
Artist: Elizabeth Siegfried
ID : 2132
Description:
Des mesures : 40.64 x 50.8 cm
Collection:
Date de réalisation : 1992
Matériaux : silver print
Collection virtuelle : Original CCCA
A Sense of Place #12: In Mama’s Mosquito Net Veil #1
Artist: Elizabeth Siegfried
ID : 2133
Description:
Des mesures : 40.64 x 50.8 cm
Collection:
Date de réalisation : 1992
Matériaux : silver print
Collection virtuelle : Original CCCA
A Sense of Place #7: The Boathouse
Artist: Elizabeth Siegfried
ID : 2130
Description:
Des mesures : 40.64 x 50.8 cm
Collection:
Date de réalisation : 1992
Matériaux : silver print
Collection virtuelle : Original CCCA
Telltale Stone
Artist: Elizabeth Siegfried
ID : 2145
Description:
Des mesures : 20.32 x 25.4 cm
Collection:
Date de réalisation : 1992
Matériaux : platinum print
Collection virtuelle : Original CCCA
Weathered Coast
Artist: Elizabeth Siegfried
ID : 2140
Description:
Des mesures : 20.32 x 25.4 cm
Collection:
Date de réalisation : 1992
Matériaux : platinum print
Collection virtuelle : Original CCCA
A Sense of Place #8: Integration
Artist: Elizabeth Siegfried
ID : 2131
Description:
Des mesures : 40.64 x 50.8 cm
Collection:
Date de réalisation : 1992
Matériaux : silver print
Collection virtuelle : Original CCCA
A Sense of Place #15: Untitled
Artist: Elizabeth Siegfried
ID : 2135
Description:
Des mesures : 40.64 x 50.8 cm
Collection:
Date de réalisation : 1992
Matériaux : silver print
Collection virtuelle : Original CCCA
A Sense of Place #3: In Mama’s Hat
Artist: Elizabeth Siegfried
ID : 2126
Description:
Des mesures : 40.64 x 50.8 cm
Collection:
Date de réalisation : 1992
Matériaux : silver print
Collection virtuelle : Original CCCA
Same Lady at the Door
Artist: Elizabeth Siegfried
ID : 2147
Description:
Des mesures :
Collection:
Date de réalisation : 1994
Matériaux : platinum print
Collection virtuelle : Original CCCA
Lady at the Door
Artist: Elizabeth Siegfried
ID : 2144
Description:
Des mesures :
Collection:
Date de réalisation : 1994
Matériaux : platinum print
Collection virtuelle : Original CCCA
Akrotiri
Artist: Elizabeth Siegfried
ID : 2155
Description:
Des mesures : 27.94 x 27.94 cm
Collection:
Date de réalisation : 1994
Matériaux : platinum print
Collection virtuelle : Original CCCA
Sumner Garden
Artist: Elizabeth Siegfried
ID : 2146
Description:
Des mesures :
Collection:
Date de réalisation : 1994
Matériaux : platinum print
Collection virtuelle : Original CCCA
Anet
Artist: Elizabeth Siegfried
ID : 2141
Description:
Des mesures : 27.94 x 27.94 cm
Collection:
Date de réalisation : 1995
Matériaux : platinum print
Collection virtuelle : Original CCCA
Monet’s Winter Garden
Artist: Elizabeth Siegfried
ID : 2154
Description:
Des mesures :
Collection:
Date de réalisation : 1995
Matériaux : platinum print
Collection virtuelle : Original CCCA
Talloires Roses
Artist: Elizabeth Siegfried
ID : 2150
Description:
Des mesures :
Collection:
Date de réalisation : 1995
Matériaux : platinum print
Collection virtuelle : Original CCCA
South End
Artist: Elizabeth Siegfried
ID : 2151
Description:
Des mesures :
Collection:
Date de réalisation : 1996
Matériaux : platinum print
Collection virtuelle : Original CCCA
Algonquin Forest
Artist: Elizabeth Siegfried
ID : 2153
Description:
Des mesures : 27.94 x 27.94 cm
Collection:
Date de réalisation : 1996
Matériaux : platinum print
Collection virtuelle : Original CCCA
The Opera Singer
Artist: Elizabeth Siegfried
ID : 2149
Description:
Des mesures :
Collection:
Date de réalisation : 1996
Matériaux : platinum print
Collection virtuelle : Original CCCA
Webs
Artist: Elizabeth Siegfried
ID : 14301
Description:
Des mesures : 20.955 x 30.48 cm
Collection:
Date de réalisation : 1997
Matériaux : platinum print
Collection virtuelle : Original CCCA
Backdoor
Artist: Elizabeth Siegfried
ID : 14302
Description:
Des mesures : 20.955 x 30.48 cm
Collection:
Date de réalisation : 1997
Matériaux : platinum print
Collection virtuelle : Original CCCA
Cradle
Artist: Elizabeth Siegfried
ID : 14315
Description:
Des mesures : 25.4 x 25.4 cm
Collection:
Date de réalisation : 1997
Matériaux : platinum print
Collection virtuelle : Original CCCA
White
Artist: Elizabeth Siegfried
ID : 14299
Description:
Des mesures : 25.4 x 25.4 cm
Collection:
Date de réalisation : 1997
Matériaux : platinum print
Collection virtuelle : Original CCCA
The Fall
Artist: Elizabeth Siegfried
ID : 14312
Description:
Des mesures : 24.13 x 24.13 cm
Collection:
Date de réalisation : 1997
Matériaux : platinum print
Collection virtuelle : Original CCCA
Lawn
Artist: Elizabeth Siegfried
ID : 14311
Description:
Des mesures : 25.4 x 25.4 cm
Collection:
Date de réalisation : 1997
Matériaux : platinum print
Collection virtuelle : Original CCCA
Senescence
Artist: Elizabeth Siegfried
ID : 14310
Description:
Des mesures : 21.59 x 30.48 cm
Collection:
Date de réalisation : 1997
Matériaux : platinum print
Collection virtuelle : Original CCCA
Evanescence
Artist: Elizabeth Siegfried
ID : 14300
Description:
Des mesures : 20.955 x 30.48 cm
Collection:
Date de réalisation : 1997
Matériaux : platinum print
Collection virtuelle : Original CCCA
Amanita
Artist: Elizabeth Siegfried
ID : 14308
Description:
Des mesures : 20.955 x 30.48 cm
Collection:
Date de réalisation : 1998
Matériaux : platinum print
Collection virtuelle : Original CCCA
Jaw Bone
Artist: Elizabeth Siegfried
ID : 14314
Description:
Des mesures : 24.765 x 25.4 cm
Collection:
Date de réalisation : 1998
Matériaux : platinum print
Collection virtuelle : Original CCCA
Grasp
Artist: Elizabeth Siegfried
ID : 14307
Description:
Des mesures : 20.955 x 30.48 cm
Collection:
Date de réalisation : 1998
Matériaux : platinum print
Collection virtuelle : Original CCCA
Mother’s Hands
Artist: Elizabeth Siegfried
ID : 14318
Description:
Des mesures : 20.955 x 29.21 cm
Collection:
Date de réalisation : 1998
Matériaux : platinum print
Collection virtuelle : Original CCCA
Sternum
Artist: Elizabeth Siegfried
ID : 14305
Description:
Des mesures : 25.4 x 25.4 cm
Collection:
Date de réalisation : 1998
Matériaux : platinum print
Collection virtuelle : Original CCCA
Verge
Artist: Elizabeth Siegfried
ID : 14309
Description:
Des mesures : 25.4 x 25.4 cm
Collection:
Date de réalisation : 1998
Matériaux : platinum print
Collection virtuelle : Original CCCA
Time
Artist: Elizabeth Siegfried
ID : 14304
Description:
Des mesures : 20.32 x 25.4 cm
Collection:
Date de réalisation : 1998
Matériaux : platinum print
Collection virtuelle : Original CCCA
Koi
Artist: Elizabeth Siegfried
ID : 14313
Description:
Des mesures : 20.32 x 29.845 cm
Collection:
Date de réalisation : 1998
Matériaux : platinum print
Collection virtuelle : Original CCCA
Radiant
Artist: Elizabeth Siegfried
ID : 14316
Description:
Des mesures : 25.4 x 25.4 cm
Collection:
Date de réalisation : 1998
Matériaux : platinum print
Collection virtuelle : Original CCCA
Vortex
Artist: Elizabeth Siegfried
ID : 14324
Description: Photograph taken in 1997; printed in 1999.
Des mesures : platinum print
Collection:
Date de réalisation : 1999
Matériaux : platinum print
Collection virtuelle : Original CCCA
Pane
Artist: Elizabeth Siegfried
ID : 14323
Description: Photograph taken in 1997; printed in 1999.
Des mesures : platinum print
Collection:
Date de réalisation : 1999
Matériaux : platinum print
Collection virtuelle : Original CCCA
Presence
Artist: Elizabeth Siegfried
ID : 14322
Description: Photograph taken in 1985; printed in 1999.
Des mesures : platinum print
Collection:
Date de réalisation : 1999
Matériaux : platinum print
Collection virtuelle : Original CCCA
Off Season
Artist: Elizabeth Siegfried
ID : 71241
Description: From the series: Off Season
The images in Off Season explore usually active locations during times of dormancy.
As a body of work, Off Season conjures a curious state of ambiguity and indecision: has something ended or is something about to begin? Here there is no certainty, only the timeless hovering that reflects the past while at the same time suggesting a future; an unsettling quietness that inspires both melancholy and hope. Ultimately only the passage of time will reveal whether we have slipped into a temporary hibernation or an eternal off season.
Des mesures : two sizes: 35.56 x 55.88 cm and 50.8 x 76.2 cm
Collection:
Date de réalisation : 1999
Matériaux : archival ink jet print
Collection virtuelle : Original CCCA
Jarred
Artist: Elizabeth Siegfried
ID : 14321
Description: Photograph taken in 1988; printed in 1999.
Des mesures : platinum print
Collection:
Date de réalisation : 1999
Matériaux : platinum print
Collection virtuelle : Original CCCA
Wary
Artist: Elizabeth Siegfried
ID : 14325
Description:
Des mesures : 22.86 x 29.21 cm
Collection:
Date de réalisation : 1999
Matériaux : platinum print
Collection virtuelle : Original CCCA
Fractured
Artist: Elizabeth Siegfried
ID : 14320
Description: Photograph taken in 1988; printed in 1999.
Des mesures : platinum print
Collection:
Date de réalisation : 1999
Matériaux : platinum print
Collection virtuelle : Original CCCA
Clipped: Vision
Artist: Elizabeth Siegfried
ID : 71217
Description: From the series: An Hour of the Wolf: Nightmare Quadrangle
Old people call it "the hour of the wolf"
It's the hour when most people die,
when most children are born.
Now is when nightmares come to us.
And if we're awake.... we're afraid....
we're afraid....
Hour of the Wolf (1968) Ingmar Bergman
An Hour of the Wolf: Nightmare Quadrangle is a collection of narrative sequences: Unease, Clipped, Sink et Vigil. Each consists of juxtaposed images that create a travelogue of the psyche.
As self-portraits combine with landscapes and still-lifes, the nightmares in An Hour of the Wolf become both personal and universal in nature. Each depicts our apprehensions, a disquieting human situation, a period of unease. Each examines the thoughts and fears that may haunt us during an "hour of the wolf."
Unease explores loss of identity and self, entrapment and confusion and the line between what is real and what is imagined.
Clipped addresses the desire to escape and the realization that it is impossible.
Sink embodies the fears of hopelessness, of feeling overwhelmed and alone in quiet despair.
Vigil tells of waiting for something that never comes.
Des mesures : approx. 50.8 x 71.12 cm
Collection:
Date de réalisation : 2000
Matériaux : Iris print
Collection virtuelle : Original CCCA
Clipped: Flight
Artist: Elizabeth Siegfried
ID : 71219
Description: From the series: An Hour of the Wolf: Nightmare Quadrangle
Old people call it "the hour of the wolf"
It's the hour when most people die,
when most children are born.
Now is when nightmares come to us.
And if we're awake.... we're afraid....
we're afraid....
Hour of the Wolf (1968) Ingmar Bergman
An Hour of the Wolf: Nightmare Quadrangle is a collection of narrative sequences: Unease, Clipped, Sink et Vigil. Each consists of juxtaposed images that create a travelogue of the psyche.
As self-portraits combine with landscapes and still-lifes, the nightmares in An Hour of the Wolf become both personal and universal in nature. Each depicts our apprehensions, a disquieting human situation, a period of unease. Each examines the thoughts and fears that may haunt us during an "hour of the wolf."
Unease explores loss of identity and self, entrapment and confusion and the line between what is real and what is imagined.
Clipped addresses the desire to escape and the realization that it is impossible.
Sink embodies the fears of hopelessness, of feeling overwhelmed and alone in quiet despair.
Vigil tells of waiting for something that never comes.
Des mesures : approx. 50.8 x 71.12 cm
Collection:
Date de réalisation : 2000
Matériaux : Iris print
Collection virtuelle : Original CCCA
Clipped: Grounded
Artist: Elizabeth Siegfried
ID : 71216
Description: From the series: An Hour of the Wolf: Nightmare Quadrangle
Old people call it "the hour of the wolf"
It's the hour when most people die,
when most children are born.
Now is when nightmares come to us.
And if we're awake.... we're afraid....
we're afraid....
Hour of the Wolf (1968) Ingmar Bergman
An Hour of the Wolf: Nightmare Quadrangle is a collection of narrative sequences: Unease, Clipped, Sink et Vigil. Each consists of juxtaposed images that create a travelogue of the psyche.
As self-portraits combine with landscapes and still-lifes, the nightmares in An Hour of the Wolf become both personal and universal in nature. Each depicts our apprehensions, a disquieting human situation, a period of unease. Each examines the thoughts and fears that may haunt us during an "hour of the wolf."
Unease explores loss of identity and self, entrapment and confusion and the line between what is real and what is imagined.
Clipped addresses the desire to escape and the realization that it is impossible.
Sink embodies the fears of hopelessness, of feeling overwhelmed and alone in quiet despair.
Vigil tells of waiting for something that never comes.
Des mesures : approx. 50.8 x 71.12 cm
Collection:
Date de réalisation : 2000
Matériaux : Iris print
Collection virtuelle : Original CCCA
Vigil: Frenzy
Artist: Elizabeth Siegfried
ID : 71210
Description: From the series: An Hour of the Wolf: Nightmare Quadrangle
Old people call it "the hour of the wolf"
It's the hour when most people die,
when most children are born.
Now is when nightmares come to us.
And if we're awake.... we're afraid....
we're afraid....
Hour of the Wolf (1968) Ingmar Bergman
An Hour of the Wolf: Nightmare Quadrangle is a collection of narrative sequences: Unease, Clipped, Sink et Vigil. Each consists of juxtaposed images that create a travelogue of the psyche.
As self-portraits combine with landscapes and still-lifes, the nightmares in An Hour of the Wolf become both personal and universal in nature. Each depicts our apprehensions, a disquieting human situation, a period of unease. Each examines the thoughts and fears that may haunt us during an "hour of the wolf."
Unease explores loss of identity and self, entrapment and confusion and the line between what is real and what is imagined.
Clipped addresses the desire to escape and the realization that it is impossible.
Sink embodies the fears of hopelessness, of feeling overwhelmed and alone in quiet despair.
Vigil tells of waiting for something that never comes.
Des mesures : approx. 50.8 x 71.12 cm
Collection:
Date de réalisation : 2000
Matériaux : Iris print
Collection virtuelle : Original CCCA
Clipped: Wound
Artist: Elizabeth Siegfried
ID : 71218
Description: From the series: An Hour of the Wolf: Nightmare Quadrangle
Old people call it "the hour of the wolf"
It's the hour when most people die,
when most children are born.
Now is when nightmares come to us.
And if we're awake.... we're afraid....
we're afraid....
Hour of the Wolf (1968) Ingmar Bergman
An Hour of the Wolf: Nightmare Quadrangle is a collection of narrative sequences: Unease, Clipped, Sink et Vigil. Each consists of juxtaposed images that create a travelogue of the psyche.
As self-portraits combine with landscapes and still-lifes, the nightmares in An Hour of the Wolf become both personal and universal in nature. Each depicts our apprehensions, a disquieting human situation, a period of unease. Each examines the thoughts and fears that may haunt us during an "hour of the wolf."
Unease explores loss of identity and self, entrapment and confusion and the line between what is real and what is imagined.
Clipped addresses the desire to escape and the realization that it is impossible.
Sink embodies the fears of hopelessness, of feeling overwhelmed and alone in quiet despair.
Vigil tells of waiting for something that never comes.
Des mesures : approx. 50.8 x 71.12 cm
Collection:
Date de réalisation : 2000
Matériaux : Iris print
Collection virtuelle : Original CCCA
Clipped: An Offering
Artist: Elizabeth Siegfried
ID : 71215
Description: From the series: An Hour of the Wolf: Nightmare Quadrangle
Old people call it "the hour of the wolf"
It's the hour when most people die,
when most children are born.
Now is when nightmares come to us.
And if we're awake.... we're afraid....
we're afraid....
Hour of the Wolf (1968) Ingmar Bergman
An Hour of the Wolf: Nightmare Quadrangle is a collection of narrative sequences: Unease, Clipped, Sink et Vigil. Each consists of juxtaposed images that create a travelogue of the psyche.
As self-portraits combine with landscapes and still-lifes, the nightmares in An Hour of the Wolf become both personal and universal in nature. Each depicts our apprehensions, a disquieting human situation, a period of unease. Each examines the thoughts and fears that may haunt us during an "hour of the wolf."
Unease explores loss of identity and self, entrapment and confusion and the line between what is real and what is imagined.
Clipped addresses the desire to escape and the realization that it is impossible.
Sink embodies the fears of hopelessness, of feeling overwhelmed and alone in quiet despair.
Vigil tells of waiting for something that never comes.
Des mesures : approx. 50.8 x 71.12 cm
Collection:
Date de réalisation : 2000
Matériaux : Iris print
Collection virtuelle : Original CCCA
Vigil: Abandoned
Artist: Elizabeth Siegfried
ID : 71209
Description: From the series: An Hour of the Wolf: Nightmare Quadrangle
Old people call it "the hour of the wolf"
It's the hour when most people die,
when most children are born.
Now is when nightmares come to us.
And if we're awake.... we're afraid....
we're afraid....
Hour of the Wolf (1968) Ingmar Bergman
An Hour of the Wolf: Nightmare Quadrangle is a collection of narrative sequences: Unease, Clipped, Sink et Vigil. Each consists of juxtaposed images that create a travelogue of the psyche.
As self-portraits combine with landscapes and still-lifes, the nightmares in An Hour of the Wolf become both personal and universal in nature. Each depicts our apprehensions, a disquieting human situation, a period of unease. Each examines the thoughts and fears that may haunt us during an "hour of the wolf."
Unease explores loss of identity and self, entrapment and confusion and the line between what is real and what is imagined.
Clipped addresses the desire to escape and the realization that it is impossible.
Sink embodies the fears of hopelessness, of feeling overwhelmed and alone in quiet despair.
Vigil tells of waiting for something that never comes.
Des mesures : approx. 50.8 x 71.12 cm
Collection:
Date de réalisation : 2000
Matériaux : Iris print
Collection virtuelle : Original CCCA
Sink: Insulated
Artist: Elizabeth Siegfried
ID : 71221
Description: From the series: An Hour of the Wolf: Nightmare Quadrangle
Old people call it "the hour of the wolf"
It's the hour when most people die,
when most children are born.
Now is when nightmares come to us.
And if we're awake.... we're afraid....
we're afraid....
Hour of the Wolf (1968) Ingmar Bergman
An Hour of the Wolf: Nightmare Quadrangle is a collection of narrative sequences: Unease, Clipped, Sink et Vigil. Each consists of juxtaposed images that create a travelogue of the psyche.
As self-portraits combine with landscapes and still-lifes, the nightmares in An Hour of the Wolf become both personal and universal in nature. Each depicts our apprehensions, a disquieting human situation, a period of unease. Each examines the thoughts and fears that may haunt us during an "hour of the wolf."
Unease explores loss of identity and self, entrapment and confusion and the line between what is real and what is imagined.
Clipped addresses the desire to escape and the realization that it is impossible.
Sink embodies the fears of hopelessness, of feeling overwhelmed and alone in quiet despair.
Vigil tells of waiting for something that never comes.
Des mesures : approx. 50.8 x 50.8 cm
Collection:
Date de réalisation : 2001
Matériaux : Iris print
Collection virtuelle : Original CCCA
Vigil: Frenzy 2
Artist: Elizabeth Siegfried
ID : 71213
Description: From the series: An Hour of the Wolf: Nightmare Quadrangle
Old people call it "the hour of the wolf"
It's the hour when most people die,
when most children are born.
Now is when nightmares come to us.
And if we're awake.... we're afraid....
we're afraid....
Hour of the Wolf (1968) Ingmar Bergman
An Hour of the Wolf: Nightmare Quadrangle is a collection of narrative sequences: Unease, Clipped, Sink et Vigil. Each consists of juxtaposed images that create a travelogue of the psyche.
As self-portraits combine with landscapes and still-lifes, the nightmares in An Hour of the Wolf become both personal and universal in nature. Each depicts our apprehensions, a disquieting human situation, a period of unease. Each examines the thoughts and fears that may haunt us during an "hour of the wolf."
Unease explores loss of identity and self, entrapment and confusion and the line between what is real and what is imagined.
Clipped addresses the desire to escape and the realization that it is impossible.
Sink embodies the fears of hopelessness, of feeling overwhelmed and alone in quiet despair.
Vigil tells of waiting for something that never comes.
Des mesures : approx. 50.8 x 71.12 cm
Collection:
Date de réalisation : 2001
Matériaux : Iris print
Collection virtuelle : Original CCCA
Vigil: Prone
Artist: Elizabeth Siegfried
ID : 71211
Description: From the series: An Hour of the Wolf: Nightmare Quadrangle
Old people call it "the hour of the wolf"
It's the hour when most people die,
when most children are born.
Now is when nightmares come to us.
And if we're awake.... we're afraid....
we're afraid....
Hour of the Wolf (1968) Ingmar Bergman
An Hour of the Wolf: Nightmare Quadrangle is a collection of narrative sequences: Unease, Clipped, Sink et Vigil. Each consists of juxtaposed images that create a travelogue of the psyche.
As self-portraits combine with landscapes and still-lifes, the nightmares in An Hour of the Wolf become both personal and universal in nature. Each depicts our apprehensions, a disquieting human situation, a period of unease. Each examines the thoughts and fears that may haunt us during an "hour of the wolf."
Unease explores loss of identity and self, entrapment and confusion and the line between what is real and what is imagined.
Clipped addresses the desire to escape and the realization that it is impossible.
Sink embodies the fears of hopelessness, of feeling overwhelmed and alone in quiet despair.
Vigil tells of waiting for something that never comes.
Des mesures : approx. 50.8 x 71.12 cm
Collection:
Date de réalisation : 2001
Matériaux : Iris print
Collection virtuelle : Original CCCA
Vigil: Claws
Artist: Elizabeth Siegfried
ID : 71212
Description: From the series: An Hour of the Wolf: Nightmare Quadrangle
Old people call it "the hour of the wolf"
It's the hour when most people die,
when most children are born.
Now is when nightmares come to us.
And if we're awake.... we're afraid....
we're afraid....
Hour of the Wolf (1968) Ingmar Bergman
An Hour of the Wolf: Nightmare Quadrangle is a collection of narrative sequences: Unease, Clipped, Sink et Vigil. Each consists of juxtaposed images that create a travelogue of the psyche.
As self-portraits combine with landscapes and still-lifes, the nightmares in An Hour of the Wolf become both personal and universal in nature. Each depicts our apprehensions, a disquieting human situation, a period of unease. Each examines the thoughts and fears that may haunt us during an "hour of the wolf."
Unease explores loss of identity and self, entrapment and confusion and the line between what is real and what is imagined.
Clipped addresses the desire to escape and the realization that it is impossible.
Sink embodies the fears of hopelessness, of feeling overwhelmed and alone in quiet despair.
Vigil tells of waiting for something that never comes.
Des mesures : approx. 50.8 x 71.12 cm
Collection:
Date de réalisation : 2001
Matériaux : Iris print
Collection virtuelle : Original CCCA
Vigil: Clutch
Artist: Elizabeth Siegfried
ID : 71214
Description: From the series: An Hour of the Wolf: Nightmare Quadrangle
Old people call it "the hour of the wolf"
It's the hour when most people die,
when most children are born.
Now is when nightmares come to us.
And if we're awake.... we're afraid....
we're afraid....
Hour of the Wolf (1968) Ingmar Bergman
An Hour of the Wolf: Nightmare Quadrangle is a collection of narrative sequences: Unease, Clipped, Sink et Vigil. Each consists of juxtaposed images that create a travelogue of the psyche.
As self-portraits combine with landscapes and still-lifes, the nightmares in An Hour of the Wolf become both personal and universal in nature. Each depicts our apprehensions, a disquieting human situation, a period of unease. Each examines the thoughts and fears that may haunt us during an "hour of the wolf."
Unease explores loss of identity and self, entrapment and confusion and the line between what is real and what is imagined.
Clipped addresses the desire to escape and the realization that it is impossible.
Sink embodies the fears of hopelessness, of feeling overwhelmed and alone in quiet despair.
Vigil tells of waiting for something that never comes.
Des mesures : approx. 50.8 x 71.12 cm
Collection:
Date de réalisation : 2001
Matériaux : Iris print
Collection virtuelle : Original CCCA
Sink: Wrists
Artist: Elizabeth Siegfried
ID : 71222
Description: From the series: An Hour of the Wolf: Nightmare Quadrangle
Old people call it "the hour of the wolf"
It's the hour when most people die,
when most children are born.
Now is when nightmares come to us.
And if we're awake.... we're afraid....
we're afraid....
Hour of the Wolf (1968) Ingmar Bergman
An Hour of the Wolf: Nightmare Quadrangle is a collection of narrative sequences: Unease, Clipped, Sink et Vigil. Each consists of juxtaposed images that create a travelogue of the psyche.
As self-portraits combine with landscapes and still-lifes, the nightmares in An Hour of the Wolf become both personal and universal in nature. Each depicts our apprehensions, a disquieting human situation, a period of unease. Each examines the thoughts and fears that may haunt us during an "hour of the wolf."
Unease explores loss of identity and self, entrapment and confusion and the line between what is real and what is imagined.
Clipped addresses the desire to escape and the realization that it is impossible.
Sink embodies the fears of hopelessness, of feeling overwhelmed and alone in quiet despair.
Vigil tells of waiting for something that never comes.
Des mesures : approx. 50.8 x 50.8 cm
Collection:
Date de réalisation : 2001
Matériaux : Iris print
Collection virtuelle : Original CCCA
By the Sea
Artist: Elizabeth Siegfried
ID : 71244
Description: From the series: Off Season
The images in Off Season explore usually active locations during times of dormancy.
As a body of work, Off Season conjures a curious state of ambiguity and indecision: has something ended or is something about to begin? Here there is no certainty, only the timeless hovering that reflects the past while at the same time suggesting a future; an unsettling quietness that inspires both melancholy and hope. Ultimately only the passage of time will reveal whether we have slipped into a temporary hibernation or an eternal off season.
Des mesures : two sizes: 35.56 x 55.88 cm and 50.8 x 76.2 cm
Collection:
Date de réalisation : 2002
Matériaux : archival ink jet print
Collection virtuelle : Original CCCA
The Dam
Artist: Elizabeth Siegfried
ID : 71267
Description:
Des mesures : 35.56 x 35.56 cm
Collection:
Date de réalisation : 2002
Matériaux : archival ink jet print
Collection virtuelle : Original CCCA
Broken Circle
Artist: Elizabeth Siegfried
ID : 71259
Description: From the series: Off Season
The images in Off Season explore usually active locations during times of dormancy.
As a body of work, Off Season conjures a curious state of ambiguity and indecision: has something ended or is something about to begin? Here there is no certainty, only the timeless hovering that reflects the past while at the same time suggesting a future; an unsettling quietness that inspires both melancholy and hope. Ultimately only the passage of time will reveal whether we have slipped into a temporary hibernation or an eternal off season.
Des mesures : two sizes: 35.56 x 35.56 cm and 50.8 x 50.8 cm
Collection:
Date de réalisation : 2002
Matériaux : archival ink jet print
Collection virtuelle : Original CCCA
Copland Steps
Artist: Elizabeth Siegfried
ID : 71245
Description: From the series: Off Season
The images in Off Season explore usually active locations during times of dormancy.
As a body of work, Off Season conjures a curious state of ambiguity and indecision: has something ended or is something about to begin? Here there is no certainty, only the timeless hovering that reflects the past while at the same time suggesting a future; an unsettling quietness that inspires both melancholy and hope. Ultimately only the passage of time will reveal whether we have slipped into a temporary hibernation or an eternal off season.
Des mesures : 35.56 x 35.56 cm
Collection:
Date de réalisation : 2002
Matériaux : archival ink jet print
Collection virtuelle : Original CCCA
Floating
Artist: Elizabeth Siegfried
ID : 71231
Description: From the series: Extinct.
The models in Extinct are animal rights activists. In the Summer of 2003 I photographed these dedicated people in the nude and in the environment. The purpose of the project was to cultivate a visceral connection between our species and the animals that inhabit the planet. Towards that end the final images explored human beings as animals; that we share this planet with other animals and that we too are ultimately vulnerable to our own destructive behavior, both physical and psychological.
To prepare for the photo shoots, and because I would not meet the models until the day of shooting, I asked the participants to fill out a questionnaire that would help me get a better sense of who they were. What is your favorite element and/or type of landscape? What is your favorite animal(s)/totem animals and reason, what is your favorite place on earth; what is most important to you about working in the animal protection movement? The replies were varied, enthusiastic and insightful. I made notes and sketches about each activist and with his or her response in mind, chose an appropriate environment that held some spiritual connection. How I planned to place them in that environment was also strongly influenced by their answers to the questions.
Much of the shooting was done on an extensive and diversified piece of property, home to a donkey sanctuary, in rural Ontario. In some cases I traveled to the activists' special spots where they felt particularly connected, and in many cases they came to my property in northern Ontario.
Extinct uses evolution as allegory. Beginning with immersion in water and progressing through emergence onto land, humankind is seen first basking in, and ultimately hiding from the elements. Extinct portrays humanity in a non-elevated state, stripped of protection, without power, all vulnerable. As both the hunter and the hunted, Man has brought itself and its habitat to the brink of annihilation.
Extinct invites the viewer to reflect on Earth's endangered system and whether it has been irrevocably damaged by our negligence, greed and complacency. Have we become the designers of Earth's ¿ and our own ¿ extinction?
Des mesures : two sizes: approx. 40.64 x 60.96 cm and 50.8 x 76.2 cm
Collection:
Date de réalisation : 2003
Matériaux : Iris print
Collection virtuelle : Original CCCA
Origin
Artist: Elizabeth Siegfried
ID : 71235
Description: From the series: Extinct.
The models in Extinct are animal rights activists. In the Summer of 2003 I photographed these dedicated people in the nude and in the environment. The purpose of the project was to cultivate a visceral connection between our species and the animals that inhabit the planet. Towards that end the final images explored human beings as animals; that we share this planet with other animals and that we too are ultimately vulnerable to our own destructive behavior, both physical and psychological.
To prepare for the photo shoots, and because I would not meet the models until the day of shooting, I asked the participants to fill out a questionnaire that would help me get a better sense of who they were. What is your favorite element and/or type of landscape? What is your favorite animal(s)/totem animals and reason, what is your favorite place on earth; what is most important to you about working in the animal protection movement? The replies were varied, enthusiastic and insightful. I made notes and sketches about each activist and with his or her response in mind, chose an appropriate environment that held some spiritual connection. How I planned to place them in that environment was also strongly influenced by their answers to the questions.
Much of the shooting was done on an extensive and diversified piece of property, home to a donkey sanctuary, in rural Ontario. In some cases I traveled to the activists' special spots where they felt particularly connected, and in many cases they came to my property in northern Ontario.
Extinct uses evolution as allegory. Beginning with immersion in water and progressing through emergence onto land, humankind is seen first basking in, and ultimately hiding from the elements. Extinct portrays humanity in a non-elevated state, stripped of protection, without power, all vulnerable. As both the hunter and the hunted, Man has brought itself and its habitat to the brink of annihilation.
Extinct invites the viewer to reflect on Earth's endangered system and whether it has been irrevocably damaged by our negligence, greed and complacency. Have we become the designers of Earth's ¿ and our own ¿ extinction?
Des mesures : two sizes: approx. 40.64 x 60.96 cm and 50.8 x 76.2 cm
Collection:
Date de réalisation : 2003
Matériaux : Iris print
Collection virtuelle : Original CCCA
Motel Pool
Artist: Elizabeth Siegfried
ID : 71247
Description: From the series: Off Season
The images in Off Season explore usually active locations during times of dormancy.
As a body of work, Off Season conjures a curious state of ambiguity and indecision: has something ended or is something about to begin? Here there is no certainty, only the timeless hovering that reflects the past while at the same time suggesting a future; an unsettling quietness that inspires both melancholy and hope. Ultimately only the passage of time will reveal whether we have slipped into a temporary hibernation or an eternal off season.
Des mesures : 35.56 x 55.88 cm
Collection:
Date de réalisation : 2003
Matériaux : archival ink jet print
Collection virtuelle : Original CCCA
Fragment
Artist: Elizabeth Siegfried
ID : 71233
Description: From the series: Extinct.
The models in Extinct are animal rights activists. In the Summer of 2003 I photographed these dedicated people in the nude and in the environment. The purpose of the project was to cultivate a visceral connection between our species and the animals that inhabit the planet. Towards that end the final images explored human beings as animals; that we share this planet with other animals and that we too are ultimately vulnerable to our own destructive behavior, both physical and psychological.
To prepare for the photo shoots, and because I would not meet the models until the day of shooting, I asked the participants to fill out a questionnaire that would help me get a better sense of who they were. What is your favorite element and/or type of landscape? What is your favorite animal(s)/totem animals and reason, what is your favorite place on earth; what is most important to you about working in the animal protection movement? The replies were varied, enthusiastic and insightful. I made notes and sketches about each activist and with his or her response in mind, chose an appropriate environment that held some spiritual connection. How I planned to place them in that environment was also strongly influenced by their answers to the questions.
Much of the shooting was done on an extensive and diversified piece of property, home to a donkey sanctuary, in rural Ontario. In some cases I traveled to the activists' special spots where they felt particularly connected, and in many cases they came to my property in northern Ontario.
Extinct uses evolution as allegory. Beginning with immersion in water and progressing through emergence onto land, humankind is seen first basking in, and ultimately hiding from the elements. Extinct portrays humanity in a non-elevated state, stripped of protection, without power, all vulnerable. As both the hunter and the hunted, Man has brought itself and its habitat to the brink of annihilation.
Extinct invites the viewer to reflect on Earth's endangered system and whether it has been irrevocably damaged by our negligence, greed and complacency. Have we become the designers of Earth's ¿ and our own ¿ extinction?
Des mesures : two sizes: approx. 40.64 x 60.96 cm and 50.8 x 76.2 cm
Collection:
Date de réalisation : 2003
Matériaux : Iris print
Collection virtuelle : Original CCCA
Aleah
Artist: Elizabeth Siegfried
ID : 71227
Description: From the series: Extinct.
The models in Extinct are animal rights activists. In the Summer of 2003 I photographed these dedicated people in the nude and in the environment. The purpose of the project was to cultivate a visceral connection between our species and the animals that inhabit the planet. Towards that end the final images explored human beings as animals; that we share this planet with other animals and that we too are ultimately vulnerable to our own destructive behavior, both physical and psychological.
To prepare for the photo shoots, and because I would not meet the models until the day of shooting, I asked the participants to fill out a questionnaire that would help me get a better sense of who they were. What is your favorite element and/or type of landscape? What is your favorite animal(s)/totem animals and reason, what is your favorite place on earth; what is most important to you about working in the animal protection movement? The replies were varied, enthusiastic and insightful. I made notes and sketches about each activist and with his or her response in mind, chose an appropriate environment that held some spiritual connection. How I planned to place them in that environment was also strongly influenced by their answers to the questions.
Much of the shooting was done on an extensive and diversified piece of property, home to a donkey sanctuary, in rural Ontario. In some cases I traveled to the activists' special spots where they felt particularly connected, and in many cases they came to my property in northern Ontario.
Extinct uses evolution as allegory. Beginning with immersion in water and progressing through emergence onto land, humankind is seen first basking in, and ultimately hiding from the elements. Extinct portrays humanity in a non-elevated state, stripped of protection, without power, all vulnerable. As both the hunter and the hunted, Man has brought itself and its habitat to the brink of annihilation.
Extinct invites the viewer to reflect on Earth's endangered system and whether it has been irrevocably damaged by our negligence, greed and complacency. Have we become the designers of Earth's ¿ and our own ¿ extinction?
Des mesures : two sizes: approx. 40.64 x 60.96 cm and 50.8 x 76.2 cm
Collection:
Date de réalisation : 2003
Matériaux : Iris print
Collection virtuelle : Original CCCA
Forest Dancers
Artist: Elizabeth Siegfried
ID : 71232
Description: From the series: Extinct.
The models in Extinct are animal rights activists. In the Summer of 2003 I photographed these dedicated people in the nude and in the environment. The purpose of the project was to cultivate a visceral connection between our species and the animals that inhabit the planet. Towards that end the final images explored human beings as animals; that we share this planet with other animals and that we too are ultimately vulnerable to our own destructive behavior, both physical and psychological.
To prepare for the photo shoots, and because I would not meet the models until the day of shooting, I asked the participants to fill out a questionnaire that would help me get a better sense of who they were. What is your favorite element and/or type of landscape? What is your favorite animal(s)/totem animals and reason, what is your favorite place on earth; what is most important to you about working in the animal protection movement? The replies were varied, enthusiastic and insightful. I made notes and sketches about each activist and with his or her response in mind, chose an appropriate environment that held some spiritual connection. How I planned to place them in that environment was also strongly influenced by their answers to the questions.
Much of the shooting was done on an extensive and diversified piece of property, home to a donkey sanctuary, in rural Ontario. In some cases I traveled to the activists' special spots where they felt particularly connected, and in many cases they came to my property in northern Ontario.
Extinct uses evolution as allegory. Beginning with immersion in water and progressing through emergence onto land, humankind is seen first basking in, and ultimately hiding from the elements. Extinct portrays humanity in a non-elevated state, stripped of protection, without power, all vulnerable. As both the hunter and the hunted, Man has brought itself and its habitat to the brink of annihilation.
Extinct invites the viewer to reflect on Earth's endangered system and whether it has been irrevocably damaged by our negligence, greed and complacency. Have we become the designers of Earth's ¿ and our own ¿ extinction?
Des mesures : two sizes: approx. 40.64 x 60.96 cm and 50.8 x 76.2 cm
Collection:
Date de réalisation : 2003
Matériaux : Iris print
Collection virtuelle : Original CCCA
Scent
Artist: Elizabeth Siegfried
ID : 71237
Description: From the series: Extinct.
The models in Extinct are animal rights activists. In the Summer of 2003 I photographed these dedicated people in the nude and in the environment. The purpose of the project was to cultivate a visceral connection between our species and the animals that inhabit the planet. Towards that end the final images explored human beings as animals; that we share this planet with other animals and that we too are ultimately vulnerable to our own destructive behavior, both physical and psychological.
To prepare for the photo shoots, and because I would not meet the models until the day of shooting, I asked the participants to fill out a questionnaire that would help me get a better sense of who they were. What is your favorite element and/or type of landscape? What is your favorite animal(s)/totem animals and reason, what is your favorite place on earth; what is most important to you about working in the animal protection movement? The replies were varied, enthusiastic and insightful. I made notes and sketches about each activist and with his or her response in mind, chose an appropriate environment that held some spiritual connection. How I planned to place them in that environment was also strongly influenced by their answers to the questions.
Much of the shooting was done on an extensive and diversified piece of property, home to a donkey sanctuary, in rural Ontario. In some cases I traveled to the activists' special spots where they felt particularly connected, and in many cases they came to my property in northern Ontario.
Extinct uses evolution as allegory. Beginning with immersion in water and progressing through emergence onto land, humankind is seen first basking in, and ultimately hiding from the elements. Extinct portrays humanity in a non-elevated state, stripped of protection, without power, all vulnerable. As both the hunter and the hunted, Man has brought itself and its habitat to the brink of annihilation.
Extinct invites the viewer to reflect on Earth's endangered system and whether it has been irrevocably damaged by our negligence, greed and complacency. Have we become the designers of Earth's ¿ and our own ¿ extinction?
Des mesures : two sizes: approx. 40.64 x 60.96 cm and 50.8 x 76.2 cm
Collection:
Date de réalisation : 2003
Matériaux : Iris print
Collection virtuelle : Original CCCA
Droplet
Artist: Elizabeth Siegfried
ID : 71229
Description: From the series: Extinct.
The models in Extinct are animal rights activists. In the Summer of 2003 I photographed these dedicated people in the nude and in the environment. The purpose of the project was to cultivate a visceral connection between our species and the animals that inhabit the planet. Towards that end the final images explored human beings as animals; that we share this planet with other animals and that we too are ultimately vulnerable to our own destructive behavior, both physical and psychological.
To prepare for the photo shoots, and because I would not meet the models until the day of shooting, I asked the participants to fill out a questionnaire that would help me get a better sense of who they were. What is your favorite element and/or type of landscape? What is your favorite animal(s)/totem animals and reason, what is your favorite place on earth; what is most important to you about working in the animal protection movement? The replies were varied, enthusiastic and insightful. I made notes and sketches about each activist and with his or her response in mind, chose an appropriate environment that held some spiritual connection. How I planned to place them in that environment was also strongly influenced by their answers to the questions.
Much of the shooting was done on an extensive and diversified piece of property, home to a donkey sanctuary, in rural Ontario. In some cases I traveled to the activists' special spots where they felt particularly connected, and in many cases they came to my property in northern Ontario.
Extinct uses evolution as allegory. Beginning with immersion in water and progressing through emergence onto land, humankind is seen first basking in, and ultimately hiding from the elements. Extinct portrays humanity in a non-elevated state, stripped of protection, without power, all vulnerable. As both the hunter and the hunted, Man has brought itself and its habitat to the brink of annihilation.
Extinct invites the viewer to reflect on Earth's endangered system and whether it has been irrevocably damaged by our negligence, greed and complacency. Have we become the designers of Earth's ¿ and our own ¿ extinction?
Des mesures : two sizes: approx. 40.64 x 60.96 cm and 50.8 x 76.2 cm
Collection:
Date de réalisation : 2003
Matériaux : Iris print
Collection virtuelle : Original CCCA
Void
Artist: Elizabeth Siegfried
ID : 71240
Description: From the series: Extinct.
The models in Extinct are animal rights activists. In the Summer of 2003 I photographed these dedicated people in the nude and in the environment. The purpose of the project was to cultivate a visceral connection between our species and the animals that inhabit the planet. Towards that end the final images explored human beings as animals; that we share this planet with other animals and that we too are ultimately vulnerable to our own destructive behavior, both physical and psychological.
To prepare for the photo shoots, and because I would not meet the models until the day of shooting, I asked the participants to fill out a questionnaire that would help me get a better sense of who they were. What is your favorite element and/or type of landscape? What is your favorite animal(s)/totem animals and reason, what is your favorite place on earth; what is most important to you about working in the animal protection movement? The replies were varied, enthusiastic and insightful. I made notes and sketches about each activist and with his or her response in mind, chose an appropriate environment that held some spiritual connection. How I planned to place them in that environment was also strongly influenced by their answers to the questions.
Much of the shooting was done on an extensive and diversified piece of property, home to a donkey sanctuary, in rural Ontario. In some cases I traveled to the activists' special spots where they felt particularly connected, and in many cases they came to my property in northern Ontario.
Extinct uses evolution as allegory. Beginning with immersion in water and progressing through emergence onto land, humankind is seen first basking in, and ultimately hiding from the elements. Extinct portrays humanity in a non-elevated state, stripped of protection, without power, all vulnerable. As both the hunter and the hunted, Man has brought itself and its habitat to the brink of annihilation.
Extinct invites the viewer to reflect on Earth's endangered system and whether it has been irrevocably damaged by our negligence, greed and complacency. Have we become the designers of Earth's ¿ and our own ¿ extinction?
Des mesures : two sizes: approx. 40.64 x 60.96 cm and 50.8 x 76.2 cm
Collection:
Date de réalisation : 2003
Matériaux : Iris print
Collection virtuelle : Original CCCA
Sink: Fatigue
Artist: Elizabeth Siegfried
ID : 71223
Description: From the series: An Hour of the Wolf: Nightmare Quadrangle
Old people call it "the hour of the wolf"
It's the hour when most people die,
when most children are born.
Now is when nightmares come to us.
And if we're awake.... we're afraid....
we're afraid....
Hour of the Wolf (1968) Ingmar Bergman
An Hour of the Wolf: Nightmare Quadrangle is a collection of narrative sequences: Unease, Clipped, Sink et Vigil. Each consists of juxtaposed images that create a travelogue of the psyche.
As self-portraits combine with landscapes and still-lifes, the nightmares in An Hour of the Wolf become both personal and universal in nature. Each depicts our apprehensions, a disquieting human situation, a period of unease. Each examines the thoughts and fears that may haunt us during an "hour of the wolf."
Unease explores loss of identity and self, entrapment and confusion and the line between what is real and what is imagined.
Clipped addresses the desire to escape and the realization that it is impossible.
Sink embodies the fears of hopelessness, of feeling overwhelmed and alone in quiet despair.
Vigil tells of waiting for something that never comes.
Des mesures : approx. 50.8 x 50.8 cm
Collection:
Date de réalisation : 2003
Matériaux : Iris print
Collection virtuelle : Original CCCA
On Shore
Artist: Elizabeth Siegfried
ID : 71258
Description: From the series: Off Season
The images in Off Season explore usually active locations during times of dormancy.
As a body of work, Off Season conjures a curious state of ambiguity and indecision: has something ended or is something about to begin? Here there is no certainty, only the timeless hovering that reflects the past while at the same time suggesting a future; an unsettling quietness that inspires both melancholy and hope. Ultimately only the passage of time will reveal whether we have slipped into a temporary hibernation or an eternal off season.
Des mesures : two sizes: 35.56 x 55.88 cm and 50.8 x 76.2 cm
Collection:
Date de réalisation : 2003
Matériaux : archival ink jet print
Collection virtuelle : Original CCCA
Survival
Artist: Elizabeth Siegfried
ID : 71239
Description: From the series: Extinct.
The models in Extinct are animal rights activists. In the Summer of 2003 I photographed these dedicated people in the nude and in the environment. The purpose of the project was to cultivate a visceral connection between our species and the animals that inhabit the planet. Towards that end the final images explored human beings as animals; that we share this planet with other animals and that we too are ultimately vulnerable to our own destructive behavior, both physical and psychological.
To prepare for the photo shoots, and because I would not meet the models until the day of shooting, I asked the participants to fill out a questionnaire that would help me get a better sense of who they were. What is your favorite element and/or type of landscape? What is your favorite animal(s)/totem animals and reason, what is your favorite place on earth; what is most important to you about working in the animal protection movement? The replies were varied, enthusiastic and insightful. I made notes and sketches about each activist and with his or her response in mind, chose an appropriate environment that held some spiritual connection. How I planned to place them in that environment was also strongly influenced by their answers to the questions.
Much of the shooting was done on an extensive and diversified piece of property, home to a donkey sanctuary, in rural Ontario. In some cases I traveled to the activists' special spots where they felt particularly connected, and in many cases they came to my property in northern Ontario.
Extinct uses evolution as allegory. Beginning with immersion in water and progressing through emergence onto land, humankind is seen first basking in, and ultimately hiding from the elements. Extinct portrays humanity in a non-elevated state, stripped of protection, without power, all vulnerable. As both the hunter and the hunted, Man has brought itself and its habitat to the brink of annihilation.
Extinct invites the viewer to reflect on Earth's endangered system and whether it has been irrevocably damaged by our negligence, greed and complacency. Have we become the designers of Earth's ¿ and our own ¿ extinction?
Des mesures : two sizes: approx. 40.64 x 60.96 cm and 50.8 x 76.2 cm
Collection:
Date de réalisation : 2003
Matériaux : Iris print
Collection virtuelle : Original CCCA
Caged
Artist: Elizabeth Siegfried
ID : 71228
Description: From the series: Extinct.
The models in Extinct are animal rights activists. In the Summer of 2003 I photographed these dedicated people in the nude and in the environment. The purpose of the project was to cultivate a visceral connection between our species and the animals that inhabit the planet. Towards that end the final images explored human beings as animals; that we share this planet with other animals and that we too are ultimately vulnerable to our own destructive behavior, both physical and psychological.
To prepare for the photo shoots, and because I would not meet the models until the day of shooting, I asked the participants to fill out a questionnaire that would help me get a better sense of who they were. What is your favorite element and/or type of landscape? What is your favorite animal(s)/totem animals and reason, what is your favorite place on earth; what is most important to you about working in the animal protection movement? The replies were varied, enthusiastic and insightful. I made notes and sketches about each activist and with his or her response in mind, chose an appropriate environment that held some spiritual connection. How I planned to place them in that environment was also strongly influenced by their answers to the questions.
Much of the shooting was done on an extensive and diversified piece of property, home to a donkey sanctuary, in rural Ontario. In some cases I traveled to the activists' special spots where they felt particularly connected, and in many cases they came to my property in northern Ontario.
Extinct uses evolution as allegory. Beginning with immersion in water and progressing through emergence onto land, humankind is seen first basking in, and ultimately hiding from the elements. Extinct portrays humanity in a non-elevated state, stripped of protection, without power, all vulnerable. As both the hunter and the hunted, Man has brought itself and its habitat to the brink of annihilation.
Extinct invites the viewer to reflect on Earth's endangered system and whether it has been irrevocably damaged by our negligence, greed and complacency. Have we become the designers of Earth's ¿ and our own ¿ extinction?
Des mesures : two sizes: approx. 40.64 x 60.96 cm and 50.8 x 76.2 cm
Collection:
Date de réalisation : 2003
Matériaux : Iris print
Collection virtuelle : Original CCCA
Murmur
Artist: Elizabeth Siegfried
ID : 71234
Description: From the series: Extinct.
The models in Extinct are animal rights activists. In the Summer of 2003 I photographed these dedicated people in the nude and in the environment. The purpose of the project was to cultivate a visceral connection between our species and the animals that inhabit the planet. Towards that end the final images explored human beings as animals; that we share this planet with other animals and that we too are ultimately vulnerable to our own destructive behavior, both physical and psychological.
To prepare for the photo shoots, and because I would not meet the models until the day of shooting, I asked the participants to fill out a questionnaire that would help me get a better sense of who they were. What is your favorite element and/or type of landscape? What is your favorite animal(s)/totem animals and reason, what is your favorite place on earth; what is most important to you about working in the animal protection movement? The replies were varied, enthusiastic and insightful. I made notes and sketches about each activist and with his or her response in mind, chose an appropriate environment that held some spiritual connection. How I planned to place them in that environment was also strongly influenced by their answers to the questions.
Much of the shooting was done on an extensive and diversified piece of property, home to a donkey sanctuary, in rural Ontario. In some cases I traveled to the activists' special spots where they felt particularly connected, and in many cases they came to my property in northern Ontario.
Extinct uses evolution as allegory. Beginning with immersion in water and progressing through emergence onto land, humankind is seen first basking in, and ultimately hiding from the elements. Extinct portrays humanity in a non-elevated state, stripped of protection, without power, all vulnerable. As both the hunter and the hunted, Man has brought itself and its habitat to the brink of annihilation.
Extinct invites the viewer to reflect on Earth's endangered system and whether it has been irrevocably damaged by our negligence, greed and complacency. Have we become the designers of Earth's ¿ and our own ¿ extinction?
Des mesures : two sizes: approx. 40.64 x 60.96 cm and 50.8 x 76.2 cm
Collection:
Date de réalisation : 2003
Matériaux : Iris print
Collection virtuelle : Original CCCA
Dock and Buoys
Artist: Elizabeth Siegfried
ID : 71246
Description: From the series: Off Season
The images in Off Season explore usually active locations during times of dormancy.
As a body of work, Off Season conjures a curious state of ambiguity and indecision: has something ended or is something about to begin? Here there is no certainty, only the timeless hovering that reflects the past while at the same time suggesting a future; an unsettling quietness that inspires both melancholy and hope. Ultimately only the passage of time will reveal whether we have slipped into a temporary hibernation or an eternal off season.
Des mesures : two sizes: 35.56 x 55.88 cm and 50.8 x 76.2 cm
Collection:
Date de réalisation : 2003
Matériaux : archival ink jet print
Collection virtuelle : Original CCCA
Extinct
Artist: Elizabeth Siegfried
ID : 71230
Description: From the series: Extinct.
The models in Extinct are animal rights activists. In the Summer of 2003 I photographed these dedicated people in the nude and in the environment. The purpose of the project was to cultivate a visceral connection between our species and the animals that inhabit the planet. Towards that end the final images explored human beings as animals; that we share this planet with other animals and that we too are ultimately vulnerable to our own destructive behavior, both physical and psychological.
To prepare for the photo shoots, and because I would not meet the models until the day of shooting, I asked the participants to fill out a questionnaire that would help me get a better sense of who they were. What is your favorite element and/or type of landscape? What is your favorite animal(s)/totem animals and reason, what is your favorite place on earth; what is most important to you about working in the animal protection movement? The replies were varied, enthusiastic and insightful. I made notes and sketches about each activist and with his or her response in mind, chose an appropriate environment that held some spiritual connection. How I planned to place them in that environment was also strongly influenced by their answers to the questions.
Much of the shooting was done on an extensive and diversified piece of property, home to a donkey sanctuary, in rural Ontario. In some cases I traveled to the activists' special spots where they felt particularly connected, and in many cases they came to my property in northern Ontario.
Extinct uses evolution as allegory. Beginning with immersion in water and progressing through emergence onto land, humankind is seen first basking in, and ultimately hiding from the elements. Extinct portrays humanity in a non-elevated state, stripped of protection, without power, all vulnerable. As both the hunter and the hunted, Man has brought itself and its habitat to the brink of annihilation.
Extinct invites the viewer to reflect on Earth's endangered system and whether it has been irrevocably damaged by our negligence, greed and complacency. Have we become the designers of Earth's ¿ and our own ¿ extinction?
Des mesures : two sizes: approx. 40.64 x 60.96 cm and 50.8 x 76.2 cm
Collection:
Date de réalisation : 2003
Matériaux : Iris print
Collection virtuelle : Original CCCA
Sacrificed
Artist: Elizabeth Siegfried
ID : 71236
Description: From the series: Extinct.
The models in Extinct are animal rights activists. In the Summer of 2003 I photographed these dedicated people in the nude and in the environment. The purpose of the project was to cultivate a visceral connection between our species and the animals that inhabit the planet. Towards that end the final images explored human beings as animals; that we share this planet with other animals and that we too are ultimately vulnerable to our own destructive behavior, both physical and psychological.
To prepare for the photo shoots, and because I would not meet the models until the day of shooting, I asked the participants to fill out a questionnaire that would help me get a better sense of who they were. What is your favorite element and/or type of landscape? What is your favorite animal(s)/totem animals and reason, what is your favorite place on earth; what is most important to you about working in the animal protection movement? The replies were varied, enthusiastic and insightful. I made notes and sketches about each activist and with his or her response in mind, chose an appropriate environment that held some spiritual connection. How I planned to place them in that environment was also strongly influenced by their answers to the questions.
Much of the shooting was done on an extensive and diversified piece of property, home to a donkey sanctuary, in rural Ontario. In some cases I traveled to the activists' special spots where they felt particularly connected, and in many cases they came to my property in northern Ontario.
Extinct uses evolution as allegory. Beginning with immersion in water and progressing through emergence onto land, humankind is seen first basking in, and ultimately hiding from the elements. Extinct portrays humanity in a non-elevated state, stripped of protection, without power, all vulnerable. As both the hunter and the hunted, Man has brought itself and its habitat to the brink of annihilation.
Extinct invites the viewer to reflect on Earth's endangered system and whether it has been irrevocably damaged by our negligence, greed and complacency. Have we become the designers of Earth's ¿ and our own ¿ extinction?
Des mesures : two sizes: approx. 40.64 x 60.96 cm and 50.8 x 76.2 cm
Collection:
Date de réalisation : 2003
Matériaux : Iris print
Collection virtuelle : Original CCCA
Solstice
Artist: Elizabeth Siegfried
ID : 71238
Description: From the series: Extinct.
The models in Extinct are animal rights activists. In the Summer of 2003 I photographed these dedicated people in the nude and in the environment. The purpose of the project was to cultivate a visceral connection between our species and the animals that inhabit the planet. Towards that end the final images explored human beings as animals; that we share this planet with other animals and that we too are ultimately vulnerable to our own destructive behavior, both physical and psychological.
To prepare for the photo shoots, and because I would not meet the models until the day of shooting, I asked the participants to fill out a questionnaire that would help me get a better sense of who they were. What is your favorite element and/or type of landscape? What is your favorite animal(s)/totem animals and reason, what is your favorite place on earth; what is most important to you about working in the animal protection movement? The replies were varied, enthusiastic and insightful. I made notes and sketches about each activist and with his or her response in mind, chose an appropriate environment that held some spiritual connection. How I planned to place them in that environment was also strongly influenced by their answers to the questions.
Much of the shooting was done on an extensive and diversified piece of property, home to a donkey sanctuary, in rural Ontario. In some cases I traveled to the activists' special spots where they felt particularly connected, and in many cases they came to my property in northern Ontario.
Extinct uses evolution as allegory. Beginning with immersion in water and progressing through emergence onto land, humankind is seen first basking in, and ultimately hiding from the elements. Extinct portrays humanity in a non-elevated state, stripped of protection, without power, all vulnerable. As both the hunter and the hunted, Man has brought itself and its habitat to the brink of annihilation.
Extinct invites the viewer to reflect on Earth's endangered system and whether it has been irrevocably damaged by our negligence, greed and complacency. Have we become the designers of Earth's ¿ and our own ¿ extinction?
Des mesures : two sizes: approx. 40.64 x 60.96 cm and 50.8 x 76.2 cm
Collection:
Date de réalisation : 2003
Matériaux : Iris print
Collection virtuelle : Original CCCA
Sink: Beckon
Artist: Elizabeth Siegfried
ID : 71224
Description: From the series: An Hour of the Wolf: Nightmare Quadrangle
Old people call it "the hour of the wolf"
It's the hour when most people die,
when most children are born.
Now is when nightmares come to us.
And if we're awake.... we're afraid....
we're afraid....
Hour of the Wolf (1968) Ingmar Bergman
An Hour of the Wolf: Nightmare Quadrangle is a collection of narrative sequences: Unease, Clipped, Sink et Vigil. Each consists of juxtaposed images that create a travelogue of the psyche.
As self-portraits combine with landscapes and still-lifes, the nightmares in An Hour of the Wolf become both personal and universal in nature. Each depicts our apprehensions, a disquieting human situation, a period of unease. Each examines the thoughts and fears that may haunt us during an "hour of the wolf."
Unease explores loss of identity and self, entrapment and confusion and the line between what is real and what is imagined.
Clipped addresses the desire to escape and the realization that it is impossible.
Sink embodies the fears of hopelessness, of feeling overwhelmed and alone in quiet despair.
Vigil tells of waiting for something that never comes.
Des mesures : approx. 50.8 x 50.8 cm
Collection:
Date de réalisation : 2005
Matériaux : Iris print
Collection virtuelle : Original CCCA
Tarp 2
Artist: Elizabeth Siegfried
ID : 71249
Description: From the series: Off Season
The images in Off Season explore usually active locations during times of dormancy.
As a body of work, Off Season conjures a curious state of ambiguity and indecision: has something ended or is something about to begin? Here there is no certainty, only the timeless hovering that reflects the past while at the same time suggesting a future; an unsettling quietness that inspires both melancholy and hope. Ultimately only the passage of time will reveal whether we have slipped into a temporary hibernation or an eternal off season.
Des mesures : 35.56 x 35.56 cm
Collection:
Date de réalisation : 2006
Matériaux : archival ink jet print
Collection virtuelle : Original CCCA
Look 1
Artist: Elizabeth Siegfried
ID : 71261
Description: Self-portraits
Over twenty-four years, the primary focus of my work has been on self-portraiture. The flexibility of this genre has enabled me to comment not only on the unavoidable and constant changes that occur to our bodies and psyches, but also on similar changes in the world around us. Exploring elements that deeply affect us ¿ memory, the passage of time, denial, connection and renewal ¿ my self-portraits strive to be both universal and intensely personal.
I present my self-portraits in two ways: as singular expressions unto themselves; and in sequence with other images to create photographic narratives. Two such narratives are: my book LifeLines, which offers a symbolic journey through lifeás inevitable cycles by juxtaposing selfáportraits with images of transformation in Nature; and An Hour of the Wolf: Nightmare Quadrangle, in which self-portraiture, combined with still life and landscape, personalize and intensify the unsettling content of the narrative.
As long as I have taken self-portraits, I have worked in the historical process of platinum, a medium that enhances the timeless quality in each image while at the same time creating unprecedented elegance in tone and detail. Although platinum is my first choice in technique, in recent years I have explored producing selected self-portraits as iris prints, resulting in images larger in size than is possible through the platinum process.
Des mesures : 25.4 x 30.48 cm
Collection:
Date de réalisation : 2006
Matériaux : colour iris print
Collection virtuelle : Original CCCA
Sink: Ponder
Artist: Elizabeth Siegfried
ID : 71226
Description: From the series: An Hour of the Wolf: Nightmare Quadrangle
Old people call it "the hour of the wolf"
It's the hour when most people die,
when most children are born.
Now is when nightmares come to us.
And if we're awake.... we're afraid....
we're afraid....
Hour of the Wolf (1968) Ingmar Bergman
An Hour of the Wolf: Nightmare Quadrangle is a collection of narrative sequences: Unease, Clipped, Sink et Vigil. Each consists of juxtaposed images that create a travelogue of the psyche.
As self-portraits combine with landscapes and still-lifes, the nightmares in An Hour of the Wolf become both personal and universal in nature. Each depicts our apprehensions, a disquieting human situation, a period of unease. Each examines the thoughts and fears that may haunt us during an "hour of the wolf."
Unease explores loss of identity and self, entrapment and confusion and the line between what is real and what is imagined.
Clipped addresses the desire to escape and the realization that it is impossible.
Sink embodies the fears of hopelessness, of feeling overwhelmed and alone in quiet despair.
Vigil tells of waiting for something that never comes.
Des mesures : approx. 50.8 x 50.8 cm
Collection:
Date de réalisation : 2006
Matériaux : Iris print
Collection virtuelle : Original CCCA
Sink: Edge
Artist: Elizabeth Siegfried
ID : 71225
Description: From the series: An Hour of the Wolf: Nightmare Quadrangle
Old people call it "the hour of the wolf"
It's the hour when most people die,
when most children are born.
Now is when nightmares come to us.
And if we're awake.... we're afraid....
we're afraid....
Hour of the Wolf (1968) Ingmar Bergman
An Hour of the Wolf: Nightmare Quadrangle is a collection of narrative sequences: Unease, Clipped, Sink et Vigil. Each consists of juxtaposed images that create a travelogue of the psyche.
As self-portraits combine with landscapes and still-lifes, the nightmares in An Hour of the Wolf become both personal and universal in nature. Each depicts our apprehensions, a disquieting human situation, a period of unease. Each examines the thoughts and fears that may haunt us during an "hour of the wolf."
Unease explores loss of identity and self, entrapment and confusion and the line between what is real and what is imagined.
Clipped addresses the desire to escape and the realization that it is impossible.
Sink embodies the fears of hopelessness, of feeling overwhelmed and alone in quiet despair.
Vigil tells of waiting for something that never comes.
Des mesures : approx. 50.8 x 50.8 cm
Collection:
Date de réalisation : 2006
Matériaux : Iris print
Collection virtuelle : Original CCCA
Gallop
Artist: Elizabeth Siegfried
ID : 71268
Description:
Des mesures : 35.56 x 35.56 cm
Collection:
Date de réalisation : 2006
Matériaux : archival ink jet print
Collection virtuelle : Original CCCA
Look 2
Artist: Elizabeth Siegfried
ID : 71262
Description: Self-portraits
Over twenty-four years, the primary focus of my work has been on self-portraiture. The flexibility of this genre has enabled me to comment not only on the unavoidable and constant changes that occur to our bodies and psyches, but also on similar changes in the world around us. Exploring elements that deeply affect us ¿ memory, the passage of time, denial, connection and renewal ¿ my self-portraits strive to be both universal and intensely personal.
I present my self-portraits in two ways: as singular expressions unto themselves; and in sequence with other images to create photographic narratives. Two such narratives are: my book LifeLines, which offers a symbolic journey through lifeás inevitable cycles by juxtaposing selfáportraits with images of transformation in Nature; and An Hour of the Wolf: Nightmare Quadrangle, in which self-portraiture, combined with still life and landscape, personalize and intensify the unsettling content of the narrative.
As long as I have taken self-portraits, I have worked in the historical process of platinum, a medium that enhances the timeless quality in each image while at the same time creating unprecedented elegance in tone and detail. Although platinum is my first choice in technique, in recent years I have explored producing selected self-portraits as iris prints, resulting in images larger in size than is possible through the platinum process.
Des mesures : 25.4 x 30.48 cm
Collection:
Date de réalisation : 2006
Matériaux : colour iris print
Collection virtuelle : Original CCCA
Look 3
Artist: Elizabeth Siegfried
ID : 71263
Description: Self-portraits
Over twenty-four years, the primary focus of my work has been on self-portraiture. The flexibility of this genre has enabled me to comment not only on the unavoidable and constant changes that occur to our bodies and psyches, but also on similar changes in the world around us. Exploring elements that deeply affect us ¿ memory, the passage of time, denial, connection and renewal ¿ my self-portraits strive to be both universal and intensely personal.
I present my self-portraits in two ways: as singular expressions unto themselves; and in sequence with other images to create photographic narratives. Two such narratives are: my book LifeLines, which offers a symbolic journey through lifeás inevitable cycles by juxtaposing selfáportraits with images of transformation in Nature; and An Hour of the Wolf: Nightmare Quadrangle, in which self-portraiture, combined with still life and landscape, personalize and intensify the unsettling content of the narrative.
As long as I have taken self-portraits, I have worked in the historical process of platinum, a medium that enhances the timeless quality in each image while at the same time creating unprecedented elegance in tone and detail. Although platinum is my first choice in technique, in recent years I have explored producing selected self-portraits as iris prints, resulting in images larger in size than is possible through the platinum process.
Des mesures : 25.4 x 33.02 cm
Collection:
Date de réalisation : 2006
Matériaux : colour iris print
Collection virtuelle : Original CCCA
Tarp
Artist: Elizabeth Siegfried
ID : 71250
Description: From the series: Off Season
The images in Off Season explore usually active locations during times of dormancy.
As a body of work, Off Season conjures a curious state of ambiguity and indecision: has something ended or is something about to begin? Here there is no certainty, only the timeless hovering that reflects the past while at the same time suggesting a future; an unsettling quietness that inspires both melancholy and hope. Ultimately only the passage of time will reveal whether we have slipped into a temporary hibernation or an eternal off season.
Des mesures : 35.56 x 35.56 cm
Collection:
Date de réalisation : 2006
Matériaux : archival ink jet print
Collection virtuelle : Original CCCA
Promenade
Artist: Elizabeth Siegfried
ID : 71248
Description: From the series: Off Season
The images in Off Season explore usually active locations during times of dormancy.
As a body of work, Off Season conjures a curious state of ambiguity and indecision: has something ended or is something about to begin? Here there is no certainty, only the timeless hovering that reflects the past while at the same time suggesting a future; an unsettling quietness that inspires both melancholy and hope. Ultimately only the passage of time will reveal whether we have slipped into a temporary hibernation or an eternal off season.
Des mesures : 35.56 x 35.56 cm
Collection:
Date de réalisation : 2006
Matériaux : archival ink jet print
Collection virtuelle : Original CCCA
Look 6
Artist: Elizabeth Siegfried
ID : 71266
Description: Self-portraits
Over twenty-four years, the primary focus of my work has been on self-portraiture. The flexibility of this genre has enabled me to comment not only on the unavoidable and constant changes that occur to our bodies and psyches, but also on similar changes in the world around us. Exploring elements that deeply affect us ¿ memory, the passage of time, denial, connection and renewal ¿ my self-portraits strive to be both universal and intensely personal.
I present my self-portraits in two ways: as singular expressions unto themselves; and in sequence with other images to create photographic narratives. Two such narratives are: my book LifeLines, which offers a symbolic journey through lifeás inevitable cycles by juxtaposing selfáportraits with images of transformation in Nature; and An Hour of the Wolf: Nightmare Quadrangle, in which self-portraiture, combined with still life and landscape, personalize and intensify the unsettling content of the narrative.
As long as I have taken self-portraits, I have worked in the historical process of platinum, a medium that enhances the timeless quality in each image while at the same time creating unprecedented elegance in tone and detail. Although platinum is my first choice in technique, in recent years I have explored producing selected self-portraits as iris prints, resulting in images larger in size than is possible through the platinum process.
Des mesures : 23.495 x 35.56 cm
Collection:
Date de réalisation : 2006
Matériaux : colour iris print
Collection virtuelle : Original CCCA
Look 5
Artist: Elizabeth Siegfried
ID : 71265
Description: Self-portraits
Over twenty-four years, the primary focus of my work has been on self-portraiture. The flexibility of this genre has enabled me to comment not only on the unavoidable and constant changes that occur to our bodies and psyches, but also on similar changes in the world around us. Exploring elements that deeply affect us ¿ memory, the passage of time, denial, connection and renewal ¿ my self-portraits strive to be both universal and intensely personal.
I present my self-portraits in two ways: as singular expressions unto themselves; and in sequence with other images to create photographic narratives. Two such narratives are: my book LifeLines, which offers a symbolic journey through lifeás inevitable cycles by juxtaposing selfáportraits with images of transformation in Nature; and An Hour of the Wolf: Nightmare Quadrangle, in which self-portraiture, combined with still life and landscape, personalize and intensify the unsettling content of the narrative.
As long as I have taken self-portraits, I have worked in the historical process of platinum, a medium that enhances the timeless quality in each image while at the same time creating unprecedented elegance in tone and detail. Although platinum is my first choice in technique, in recent years I have explored producing selected self-portraits as iris prints, resulting in images larger in size than is possible through the platinum process.
Des mesures : 23.495 x 35.56 cm
Collection:
Date de réalisation : 2006
Matériaux : colour iris print
Collection virtuelle : Original CCCA
Look 4
Artist: Elizabeth Siegfried
ID : 71264
Description: Self-portraits
Over twenty-four years, the primary focus of my work has been on self-portraiture. The flexibility of this genre has enabled me to comment not only on the unavoidable and constant changes that occur to our bodies and psyches, but also on similar changes in the world around us. Exploring elements that deeply affect us ¿ memory, the passage of time, denial, connection and renewal ¿ my self-portraits strive to be both universal and intensely personal.
I present my self-portraits in two ways: as singular expressions unto themselves; and in sequence with other images to create photographic narratives. Two such narratives are: my book LifeLines, which offers a symbolic journey through lifeás inevitable cycles by juxtaposing selfáportraits with images of transformation in Nature; and An Hour of the Wolf: Nightmare Quadrangle, in which self-portraiture, combined with still life and landscape, personalize and intensify the unsettling content of the narrative.
As long as I have taken self-portraits, I have worked in the historical process of platinum, a medium that enhances the timeless quality in each image while at the same time creating unprecedented elegance in tone and detail. Although platinum is my first choice in technique, in recent years I have explored producing selected self-portraits as iris prints, resulting in images larger in size than is possible through the platinum process.
Des mesures : 25.4 x 36.83 cm
Collection:
Date de réalisation : 2006
Matériaux : colour iris print
Collection virtuelle : Original CCCA
Slide
Artist: Elizabeth Siegfried
ID : 71253
Description: From the series: Off Season
The images in Off Season explore usually active locations during times of dormancy.
As a body of work, Off Season conjures a curious state of ambiguity and indecision: has something ended or is something about to begin? Here there is no certainty, only the timeless hovering that reflects the past while at the same time suggesting a future; an unsettling quietness that inspires both melancholy and hope. Ultimately only the passage of time will reveal whether we have slipped into a temporary hibernation or an eternal off season.
Des mesures : 35.56 x 35.56 cm
Collection:
Date de réalisation : 2007
Matériaux : archival ink jet print
Collection virtuelle : Original CCCA
Drive In
Artist: Elizabeth Siegfried
ID : 71251
Description: From the series: Off Season
The images in Off Season explore usually active locations during times of dormancy.
As a body of work, Off Season conjures a curious state of ambiguity and indecision: has something ended or is something about to begin? Here there is no certainty, only the timeless hovering that reflects the past while at the same time suggesting a future; an unsettling quietness that inspires both melancholy and hope. Ultimately only the passage of time will reveal whether we have slipped into a temporary hibernation or an eternal off season.
Des mesures : 35.56 x 55.88 cm
Collection:
Date de réalisation : 2007
Matériaux : archival ink jet print
Collection virtuelle : Original CCCA
Puddles
Artist: Elizabeth Siegfried
ID : 71252
Description: From the series: Off Season
The images in Off Season explore usually active locations during times of dormancy.
As a body of work, Off Season conjures a curious state of ambiguity and indecision: has something ended or is something about to begin? Here there is no certainty, only the timeless hovering that reflects the past while at the same time suggesting a future; an unsettling quietness that inspires both melancholy and hope. Ultimately only the passage of time will reveal whether we have slipped into a temporary hibernation or an eternal off season.
Des mesures : 35.56 x 55.88 cm
Collection:
Date de réalisation : 2007
Matériaux : archival ink jet print
Collection virtuelle : Original CCCA
Moorings
Artist: Elizabeth Siegfried
ID : 71255
Description: From the series: Off Season
The images in Off Season explore usually active locations during times of dormancy.
As a body of work, Off Season conjures a curious state of ambiguity and indecision: has something ended or is something about to begin? Here there is no certainty, only the timeless hovering that reflects the past while at the same time suggesting a future; an unsettling quietness that inspires both melancholy and hope. Ultimately only the passage of time will reveal whether we have slipped into a temporary hibernation or an eternal off season.
Des mesures : 35.56 x 35.56 cm
Collection:
Date de réalisation : 2008
Matériaux : archival ink jet print
Collection virtuelle : Original CCCA
You Must Be
Artist: Elizabeth Siegfried
ID : 71257
Description: From the series: Off Season
The images in Off Season explore usually active locations during times of dormancy.
As a body of work, Off Season conjures a curious state of ambiguity and indecision: has something ended or is something about to begin? Here there is no certainty, only the timeless hovering that reflects the past while at the same time suggesting a future; an unsettling quietness that inspires both melancholy and hope. Ultimately only the passage of time will reveal whether we have slipped into a temporary hibernation or an eternal off season.
Des mesures : 35.56 x 35.56 cm
Collection:
Date de réalisation : 2008
Matériaux : archival ink jet print
Collection virtuelle : Original CCCA
Candy Floss
Artist: Elizabeth Siegfried
ID : 71260
Description: From the series: Off Season
The images in Off Season explore usually active locations during times of dormancy.
As a body of work, Off Season conjures a curious state of ambiguity and indecision: has something ended or is something about to begin? Here there is no certainty, only the timeless hovering that reflects the past while at the same time suggesting a future; an unsettling quietness that inspires both melancholy and hope. Ultimately only the passage of time will reveal whether we have slipped into a temporary hibernation or an eternal off season.
Des mesures : 35.56 x 35.56 cm
Collection:
Date de réalisation : 2008
Matériaux : archival ink jet print
Collection virtuelle : Original CCCA
Warning
Artist: Elizabeth Siegfried
ID : 71256
Description: From the series: Off Season
The images in Off Season explore usually active locations during times of dormancy.
As a body of work, Off Season conjures a curious state of ambiguity and indecision: has something ended or is something about to begin? Here there is no certainty, only the timeless hovering that reflects the past while at the same time suggesting a future; an unsettling quietness that inspires both melancholy and hope. Ultimately only the passage of time will reveal whether we have slipped into a temporary hibernation or an eternal off season.
Des mesures : 35.56 x 35.56 cm
Collection:
Date de réalisation : 2008
Matériaux : archival ink jet print
Collection virtuelle : Original CCCA
