Gina Grey is an artist who works with photography and digital media and employs an analog sensibility while working with digital technology. She explores the elasticity and potential of the photographic image and uses it to explore the idea of what photography is procedurally and not merely the finished image one typically expects from a photographer. She examines the organization, translation, preservation, and degradation of data, mind, and matter through the lens of eccentric genius, visual illusion, and aircraft anatomy. She distills complex, yet seemingly mundane systems to their absolute rudiments and finds new ways to rebuild them such as breaking photographs down pixel by pixel or dissecting language letter by letter. This is followed by a careful reconstruction that has manifested as digital collage or photographs printed on paper, a sculptural object in space or an animated sequence. She graduated with a BA from Columbia College Chicago and an MFA from the University of Washington. She has shown her work internationally including exhibitions in Chicago, Seattle, Australia, Hungary, Italy and Scotland. She has been an artist in residence in numerous programs including the Burren College of Art, Kala Art Institute, Women’s Studio Workshop and Oregon College of Art and Craft.
When I think about what career I likely would have pursued had I not become a psychologist, the one I come back to over and over is architect. As a small child I was fascinated by buildings, how they looked, the idiosyncratic details in their facades, how they related to one another and their surroundings. I liked how they held still but could look incredibly different depending where I was in relation to them and depending on the light and weather of a given moment. I approach my print making much as I imagine a draftsperson approaches laying out plans for a building, going back and forth from the vision of the final product to the foundational elements, mentally considering it from up close and from a distance, in light and dark conditions. Typically my subject matter is pretty abstract. Drawing on something emotional or political I use layers and repetition to indirectly tell a story. Sometimes, though, I choose to depict simple objects, like houses a child might draw. Most of the pieces in this show are of the simple object variety, straightforward little houses like ones I might like to build and live in and that I wish were available to everyone; nothing fancy or spectacular just still, inviting, safe, and functional, with clean lines and enough layers to be interesting.