Pong Field, 2006, by Jessica Eaton

The camera is a complex and somewhat mysterious tool that translates experience into two-dimensional imagery. For many photographers, it is simply the means to an end: photographs. For others, such as contender Jessica Eaton, the camera's unique properties and possibilities define her entire practice. Her works, which are each created in-camera onto a single piece of film, deal largely with the deconstruction of and experimentation with the medium of photography itself.

Jessica writes,

I plan my projects extensively but as experiments, a neverending series of tests. Each time I shoot the results influence the next step. I often like to leave a lot of space for accidents to happen and am most satisfied with the work when it takes on a life of it's own. I want to make photographs that surprise myself, that teach me something, that seem a little like I didn't even make them despite the effort. I want to make photographs that compel one to keep looking.

In an age where it's possible to snap thousands of digital photographs at a time with little to no cost, Jessica's intent to build up layers of slow experimentation is both heartening and visually arresting. Her dedication to the process is such that instead of filling out a bio she included extended notes on the recipe for each of her images.

Pinholes 12, 2009, by Jessica Eaton

She writes,

Pinholes 12 again uses in-camera masking, in this case the masks are made by hand, pin pricking sheets of paper into screens. Pinholes 12 is one of the first photographs where an image is visible, the previous attempts show only very abstract spots of colour in a sea of black. As I continue to shoot these works and make changes to the masks and exposures the indexical referent, the 'something' that I am photographing, resolves. Viewed as a series (they are meant to be large prints as they visually change with physical proximity) and with regard to the process of making these photographs they posture or dramatize colour photography itself. On the one hand the early colour efforts such as the Autochrome Lumière or likewise modern grain, on the other the mediums constant quest for an ever clearer or acurate image, applicable to both photography proper and digital sensors.

If the name Jessica Eaton sounds familiar to you, it may be because she is one of the thirty-six artists whose work currently graces the walls of the Mixtape exhibition at Jen Bekman Gallery. Or, perhaps you're a proud owner of her 20x200 edition Filter Samples.

You can check out more of Jessica's work at her website, or stop by the gallery to check it out in person.