Baker Artist Portfolios

Analogous is a series of photographic experiments and site-specific installations that investigate the current state of photography. The works in this project make use of materials that have become increasingly obsolete in photographic practice, such as grey cards, instant film and obscure darkroom tools. By repurposing these objects, the project addresses photography’s past with reverence, while at the same time acknowledging its digital future. 

Driven by motives of discovery, Collaborations with Nature is a body of work which uses water to carve the emulsion of film, creating a new skin of layer of imagery. The photographs evolve around the concept of how far one can push the film or the medium of landscape until it reaches abstraction. Pairing these two disparate forms of photography, the print created in the darkroom achieves a point of conflation.

Beyond my use of materials to carve and fabricate sculptures that reference the assimilation of flesh, bone, and prosthesis, I am also utilizing projections made with the hand made mirror lens reflex camera obscura- essentially a hand built projector. Building the projector and controlling the projection surface supports a range of multi-dimensional sculptural possibilities. These non-digital projectors allow me to investigate the interplay between machine, body, and space with a ghost-like corporeality.

Seven audio-visual excerpts generated by "no input" communication between sound and video signals interacting in a seamlessly feedback loop.

I. ...~ `
II. h .-\
III. {o { -
IV. -
V. u0
VI. `|s
VII.

Separation is a working project that explores the process of color separation photography. By using and experimenting with this process I am working to capture the essence of time and movement in a still image. Each images covers a different span of time ranging from just a few seconds to a few days.

These images, along with the accompanying Portrait project, all began as charcoal drawings from life. I then worked with the drawings using various Photoshop features to manipulate into new images. I call this method analog/digital.
The images exist virtually, and "exist" only when printed out. Using a high quality printer and paper brings out the image to their best. The term Giclée has been used for such a print, but I want to emphasize that what I am doing here is different than reproducing a picture done in a traditional medium.

This video depicts the gradual development of a Polaroid photograph. The image slowly appears as the chemicals in the Polaroid form an image and then gradually disappear again. The work deals with issues of memory and desire but it is also meant to challenge the immediacy of photography today. By recording the development process of a Polaroid image, a product that was originally intended to make photography more “instantaneous”, the still image has become a time-based art form. In this way, Guoda forces viewers to reconsider the nature of photography in the digital era.

Through analog color photography, I explored the nightlife of Glasgow Scotland. The harsh flash and bright colors reflect the personalities I met and the memories that I still have. These photographs were developed and printed through traditional analog methods.

The ANALOG arts ensemble created a trio of flute, viola, and cello to collaborate with gallery curators for a concert which highlighted the works on display.

We presented old and new works (including a world-premiere commission) which complimented and accompanied the visual artwork.

This is live from a recital at the Honfleur Gallery in Washington, DC.

Presented in this series are images of the now abandoned checkpoints that separate former eastern bloc countries from the West, particularly the Czech Republic from Austria and Germany. As remnants of the Iron Curtain, each checkpoint carries with it its own amount of history and aura. Today, each structure stands vacant and serves only as a hollow reminder that one is moving from one country to another. My aim with these images is not to capture memories of the drama that undoubtedly occurred at these checkpoints prior to 1989.