Colliding: Jennifer Brandon and Andréanne Michon at SF Camerawork

Shotgun Review

Colliding: Jennifer Brandon and Andréanne Michon at SF Camerawork

By tamara suarez porras May 1, 2019

Shotgun Reviews are an open forum where we invite the international art community to contribute timely, short-format responses to an exhibition or event. If you are interested in submitting a Shotgun Review, please click this link for more information. In this Shotgun Review, tamara suarez porras reviews Colliding at SF Camerawork.


Andréanne Michon and Jennifer Brandon’s Colliding, the artists’ two-person show at SF Camerawork, presents works that explore the dark sublime in ordinary materials, such as rock formations, mylar, or glass cleaner. The exhibition features photographic prints altered by chemical and physical interventions, as well as works on paper, sculptures, and video that suggest the simultaneity of stasis and flux.

Entering the space, viewers encounter an obsidian ceramic that curves outward from the white gallery wall, as if cast from an organic growth within the earth’s depths (Michon’s Crust 2 (2018)). Meanwhile, rhizomatic cellular forms nearby appear to spread across seven panels, depicting a visually alchemical transformation from liquid spray applied to black-and-white paper, that is then solarized (Brandon’s Dilations I-VII (2019)). Each work evokes organic forms in flux between inertia and an active state of formation. Concurrently, the whirring soundtrack from Michon’s video work Once Glacier (2018-19) permeates the space, suggesting active yet unseen forces.

Jennifer Brandon. Dispersion II, 2019; mirror remover on unique silver gelatin fiber print; 39 1/8 x 68 7/8 inches. Courtesy of the Artist and SF Camerawork.​

The tactile, umber surfaces of Brandon’s Dispersion II and Dispersion III (2019), by comparison, resemble galactic forms, the result of material collisions and reformations. Developed by applying mirror cleaner spray onto the surface of gelatin silver paper, the prints exist as still objects, and yet are ever-changing, as the surfaces will continue to evolve over time. These suggestions of cosmic forces recur again in Brandon’s video Glistening II (2019), which depicts a slow-moving subterranean liquid, like magma or silver, that undulates into a form resembling interconnected, mutating cells.

For Embossing with Transfer 1 and Embossing Sculpted 1 (both 2018), Michon molds cinefoil—a material used in photography and film to alter the shape and direction of light—into flattened topographies with embossed tendril-like forms that evoke the nervous system. Photo-based diptychs such as Monument (2015) and Erosion (2019), by comparison, depict seemingly rudimentary rock formations in order to record the perpetual motion of landmasses through geologic time. Even in the absence of pictorial representations of human forces, the works on view in Colliding suggest resonant metaphors about the impact of mark-making, interconnectedness, and flows of change.

Colliding is on view at SF Camerawork in San Francisco through June 8, 2019.

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