From Alexandra Silverthorne website:
“Originally from Washington, DC, Alexandra Silverthorne graduated from Connecticut College with a major in Government and minors in Art and Philosophy and holds a Master of Fine Arts from Maine College of Art (MECA). Since 2010, she has taught undergraduate darkroom photography courses at American University, Montgomery College, and the University of the District of Columbia. She has also taught additional courses through MECA’s Continuing Studies program. In 2009, Silverthorne co-initiated the MFA Alumni Residency Program at MECA and served as the Residency Coordinator until 2013.
Silverthorne has exhibited throughout the DC area, including solo shows at BlackRock Center for the Arts (Rockville, MD), harmon art lab (Washington, DC), Heineman Myers Contemporary Art (Bethesda, MD), and Warehouse Gallery (Washington, DC). She received a fellowship to travel to Hiroshima and Nagasaki, Japan for the 2004 annual World Conference Against A&H Bombs. She has also received several grants from the D.C. Commission on the Arts & Humanities as well as one from the Puffin Foundation. Her work can be found in the permanent collection of the John Wilson City Hall Building in Washington, DC. She is based in Washington, DC.”
“James Baldwin once wrote “The world changes according to the way people see it, and if you alter, even by a millimeter, the way people look at reality, then you can change it.” It is this idea of how slight changes in perception might alter the way we see and thus, interact with the world that drives my work. I use the camera as a means to understand and explore spatial environments and encounters while oftentimes focusing on the mundane or overlooked elements. At the core of my studio practice, I ask questions about space and place. What is space? How do we understand it? How do we become familiar with it? Why does place matter? How do we move through and use it? How we can do this in better and more thoughtful ways?Working with both analogue and digital processes, I allow the conceptual ideas, themselves, to drive the form and medium for each project. As projects evolve, my photographs often move beyond the more-traditional mat and frame to become sculptural objects, projections, installations, and photo books.”
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