Brea Souders

Selected Works Thumbnail View
Event Horizon, 2015 Archival inkjet print 20 x 16 inchesEvent Horizon, 2015 Archival inkjet print 20 x 16 inches

Event Horizon, 2015

Archival inkjet print

20 x 16 inches

Man One, 2015 Archival inkjet print 38 x 30 2/5 inchesMan One, 2015 Archival inkjet print 38 x 30 2/5 inches

Man One, 2015

Archival inkjet print

38 x 30 2/5 inches

Breaking Ground, 2015 Archival inkjet print 16 x 20 inchesBreaking Ground, 2015 Archival inkjet print 16 x 20 inches

Breaking Ground, 2015

Archival inkjet print

16 x 20 inches

Hand, 2015 Archival inkjet print 12 x 10 inchesHand, 2015 Archival inkjet print 12 x 10 inches

Hand, 2015

Archival inkjet print

12 x 10 inches

Colors of Napoleon, 2010 Archival inkjet print 25 x 20 inchesColors of Napoleon, 2010 Archival inkjet print 25 x 20 inches

Colors of Napoleon, 2010

Archival inkjet print

25 x 20 inches

Under Water, 2012 Archival inkjet print 40 x 32 inchesUnder Water, 2012 Archival inkjet print 40 x 32 inches

Under Water, 2012

Archival inkjet print

40 x 32 inches

Sunburn in Naples, 2010 Archival inkjet print 25 x 20 inchesSunburn in Naples, 2010 Archival inkjet print 25 x 20 inches

Sunburn in Naples, 2010

Archival inkjet print

25 x 20 inches

Film Electric #19, 2013 Archival inkjet print 25 x 20 inchesFilm Electric #19, 2013 Archival inkjet print 25 x 20 inches

Film Electric #19, 2013

Archival inkjet print

25 x 20 inches

Film Electric #21, 2013 Chromogenic print 40 x 32 inchesFilm Electric #21, 2013 Chromogenic print 40 x 32 inches

Film Electric #21, 2013

Chromogenic print

40 x 32 inches

Mountains Without Faces #13, 2012 Archival inkjet print 20 x 16 inchesMountains Without Faces #13, 2012 Archival inkjet print 20 x 16 inches

Mountains Without Faces #13, 2012

Archival inkjet print

20 x 16 inches

Mountains Without Faces #15, 2013 Chromogenic print 20 x 16 inchesMountains Without Faces #15, 2013 Chromogenic print 20 x 16 inches

Mountains Without Faces #15, 2013

Chromogenic print

20 x 16 inches

French Bed and Moon, 2011 Chromogenic print 40 x 32 inchesFrench Bed and Moon, 2011 Chromogenic print 40 x 32 inches

French Bed and Moon, 2011

Chromogenic print

40 x 32 inches

Mille Fleurs, 2011 Chromogenic print 25 x 20 inchesMille Fleurs, 2011 Chromogenic print 25 x 20 inches

Mille Fleurs, 2011

Chromogenic print

25 x 20 inches

Modern Day Halo, 2010 Chromogenic print 25 x 20 inchesModern Day Halo, 2010 Chromogenic print 25 x 20 inches

Modern Day Halo, 2010

Chromogenic print

25 x 20 inches

Under My Thumb, 2011 Chromogenic print 25 x 20 inchesUnder My Thumb, 2011 Chromogenic print 25 x 20 inches

Under My Thumb, 2011

Chromogenic print

25 x 20 inches

Other Works
Hole in the CurtainHole in the Curtain
Hole in the Curtain
Film ElectricFilm Electric
Film Electric
CounterformsCounterforms
Counterforms

 

 

 

 

By shaping the physical materials that comprise the majority of her photographs, Souders satisfies her interest in psychology, chemistry and design. Her redolent images are a canvas for her creative practice that has extended from thoughtfully executed sculptural montages for her Counterforms series, to a literal suspension of chance in her Film Electric project. Souders’ photographs are complex. Her chosen subject matter often includes personal effects or specific props that she arranges in pictorial space, conceived as a visual analogy or parallel for that which is described in her titles. Her works function as experiments, or a physical acting out of an abstract concept or layered subject—investigations into her past, cultural heritage, art history, and language—they balance between the literal and the figurative. Souders constructs visual “plays” on her ideas employing a particular palette and light-hearted tone, belying consideration of weighty and essential topics. Similarly, her well-known Film Electric project playfully derives from an accidental occurrence in her studio (fragments of her own negatives adhered with static-electricity to a plastic film sleeve) but hints at a conceptual overlay that turns her work into a visual referent for her own memories. As with memory, she writes of the work, “…certain slices come forward, and they intertwine with a lot of smaller sensory memories tied to color, light or shape. An entire day can be remembered as the way that the light caught someone’s hair, the particular pattern on a guitar strap, the shape of the moon that night, and so on”. Despite Souders’ preference for control over the creation of her images, her intuition is to always honor chance and the unknowable. She says of her work, “Illumination isn’t guaranteed”.

 

 

 

Born in 1978 in Baltimore, Maryland, Souders studied art at the University of Maryland, Baltimore County. Souders lives and works in New York City.

 

Brea Souders has been exhibited in galleries and festivals internationally, including Abrons Arts Center, the Camera Club of New York and the Center for Photography at Woodstock in New York, as well as the Hyères International Festival of Photography & Fashion, France, the Singapore International Photography Festival and the Peel Art Gallery, Museum and Archives. She has received a Jean and Louis Dreyfus Foundation fellowship at the Millay Colony of the Arts and Women in Photography/LTI-Lightside Kodak materials grant, and the Pollock-Krasner Foundation grant. Souders’ work has been featured in New York Magazine, Vice, Artnews, and Creative Review.