Diana Cheren Nygren

I think I have spent more or less my whole life learning how to look and how to think about what I am looking at.  I met my husband in graduate school studying Art History, and both my father-in-law and brother-in-law are art historians, which means that looking at art continues to be a central practice in my adult life.  That may be part of why photography suits me as a form of artistic practice.  Traditional photography is, in large part, a process of recording interesting (either visually, or by virtue of subject matter) things that you observe.  The art historian and the photographer must both be careful visual observers of something outside of themselves.

My training teaches me to value an awareness of one’s medium, and I think this latest work begins to reflect that a bit.  Digital photog-raphy, especially, grants the artist the ability to simultaneously pre-sent a subject as something that has been seen in the world and, through software, to manipulate that image to tell a story that may or my not have ever existed in a literal way.  I am a huge fan of straight photography. So much of photography arises out of noticing things in the world that others may not have a chance to see or pass over. But I think as a form of fine art, it makes sense to try to do some-thing different - something which involves using the traits of the medium at your disposal to say something personal or to comment on the world.

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