Diane Meyer
Editing
Diane meyer's website
Diane Meyer, A.I.R.
http://airgallery.org/artists/diane-meyer/#0_1#top
Stefania Vourazeri, "Diane Meyer's Embroidered Photography", Yatzer, January 20, 2013
https://www.yatzer.com/Diane-Meyer-Embroidered-Photography
Diane Meyer, TIME SPENT THAT MIGHT OTHERWISE BE FORGOTTEN
I am interested in the failures of photography in preserving experience and personal history as well as the means by which photographs transform history into nostalgic objects that obscure understandings of the past.
In series Time Spent That Might Otherwise Be Forgotten, cross stitch embroidery has been sewn directly into family photographs. The images are broken down and reformed through the embroidery into a hand-sewn pixel structure. As areas of the image are concealed by the embroidery, small, seemingly trivial details emerge while the larger picture and context are erased. I am interested in the disjunct between actual experience and photographic representation and photography’s ability to supplant memory. By borrowing the visual language of digital imaging with an analog process, a connection is made between forgetting and digital file corruption. The tactility of the pieces also references the growing trend of photos remaining primarily digital- stored on cell phones and hard drives, but rarely printed out into a tangible object.
Diane Meyer, Berlin
These embroidered images are from a series of photographs taken along the entire circumference of the former Berlin Wall. Sections of the photographs have been obscured by cross-stitch embroidery sewn directly into the photograph forming a pixelated version of the underlying image. My retracing of the Wall perimeter took me through the city center as well as the suburbs and outlying forests. I was particularly interested in photographing locations where no visible traces of the actual wall remain, but in which there are subtle clues of its previous existence. These clues include incongruities in the architecture that occurred as new structures were built on newly opened land parcels, changes in street lights or newer vegetation. In addition to the physical aspects that point to the former division of the city, I am interested in the psychological weight of these sites. In many of the images, the embroidered sections of the photograph represent the exact scale and location of the former Wall offering a pixelated view of what lies behind. In this way, the embroidery becomes a trace in the landscape of something that no longer exists, but is a weight on history and memory.
