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Life in the ShadowsAllusion to people walking by this site in an urban setting of historic buildings that are the centerpiece of tourism in Seattle. Pike Place Market in the evening is a quiet reminder of place in its purest sense. The shadows remind us that at all hours, there is life coming and going in the back corners of cities. -
The Bus Ride, 2018, 11x17, unframed$250Focus is on woman listening to music during a busy and long bus ride. Her face is expressive with determination to endure or ignore the activity around her that was disruptive. This candid portrait is about mood and emotion. -
The CrossingPigment Print,16 x 16 inches, framed, 2013, $400Two men crossing on a bridge do not acknowledge one another as they pass. There is a sense of isolation and separateness that is intentional... a choice not to engage. -
End of the Day, 2015, 11x17, unframed$250Flower Vendor ends his work day catching up on phone messages. Sitting quietly behind the closed shade disengaged from the person sitting behind him. This “street” portrait is a behind the scenes look at the iconic market and the vendor’s life after hours. -
How We Look at Art, 11x17 inches, unframed, 2015, $250July 5, 2018 Art Walk at the Seattle Art Museum, 3 visitors are transfixed by the work they see. Both the sculpture is being closely inspected as is the two dimensional work on the wall. This is an example of wonderment and curiosity as seen in their facial expressions and body language. -
my soul lives in another time, pigment print, 20x24 inches, framed, $475Toned archival inkjet image taken of child intently studying what is before here. She moved slightly as images was shot thus giving the slight indication of motion. Her appearance was angelic and reminded me of the kind of faces that appealed to Vermeer. The words are integrated into the design of the image and reflect that timelessness that pervaded it. It was a backstory for the current time. Vernacular Exhibition -
"I don't See You", 12.5 x1 2.5 inches, framed, 2015, $275Two Women walk parallel with no eye contact or awareness of one another. Both are in separate spaces as their paths cross. Yet, they had seen one another from the distance. -
Homeboy, pigment print, 11x17 inches, unframed, 2018, $250Homeboy is a look at contemporary culture and vernacular language. Photograph taken in the Georgetown neighborhood of Seattle where there is a large arts and alternative culture presence. The skateboard is both used for sport, pleasure and as transportation and is part of Homeboy life. -
Pioneer Square 2017Two sizes: 17"x22" unframed, $250 & 13" x 19" unframed, $200 This duo is an example of the sensation of change and growth overtaking this historic area of Seattle. The top image is a double exposure made with film that shows existing historic structures and the first of the tallest hi-rise office buildings in downtown. The bottom image is a manipulated digital image made to emphasize the shifting landscape. Both images together are metaphors to describe the physical impact and affect on people who live and work in this area. The images work together to form a fuller relationship to each set of buildings or open spaces. They are situated around the corner from each other. -
Altering History 2017Two sizes: 17"x22" unframed, $250 & 13" x 19" unframed, $200 -
Marginal Way 2017Two sizes: 17"x22" unframed, $250 & 13" x 19" unframed, $200 two film images of industrial Georgetown area in Seattle along Marginal Way. Gives a sense of the desolation of these areas off hours when these images were taken across from one another. The identity is distinct in terms of what happens here. -
International Districts, 2017Two sizes: 17"x22" unframed, $250 & 13" x 19" unframed, $200 Diptych of two urban international districts, one in Seattle and one in New York that identify a sense of place and cultural tradition in the combination of the total image. Each image could live on its own but the contrast adds richness to the understanding of the identity within each city represented. -
Beacon Ave 2017Two sizes: 17"x22" unframed, $250 & 13" x 19" unframed, $200 -
Opera Alley Tacoma 2017Two sizes: 17"x22" unframed, $250 & 13" x 19" unframed, $200 Two views of Opera Alley in the Theatre District. This site use to be the Red Light District but was revived as a cultural hub for performing arts, small crafts shops, restaurants and arts workshops. -
After Friedlander...201324"x18" Framed, $400 Homage to the work of Lee Friedlander and his photograph in 2000 from Chatham Square in New York City. These images are from Seattle... -
Witness Between 4th and 5th on Union 2015Archival Pigment Print, 9.5" x 9.5" image framed as 16" w x 20" h, $350 Unfolding Project exploring idea of place in the landscape and impact of economics and social/cultural background. Woman in the shadows crossing in between the others is the witness to what’s seen now that other’s ignore. -
The Sisters of Havana8.5"x11" unframed, $100 Taken in Old havana historic district. Standing behind the women as they watched and evaluated activity around. -
The Affordable Housing Fantasy16"x20", Framed $350 Seer of Secrets Portfolio 2014 -
Those Long Days In Dreamland 201120"x24" Framed, $450 Composite of digital images taken in Pioneer Square, Seattle, WA. Original words. Part of Urban Vernacular Project. Final image toned to provide more timeless quality. -
Shattered History8.5"x11" unframed, $100 Composite of of face peering out from distressed glass of vacant building left to decay. From Seer of Secrets Project.
URBAN Exhibition Artist Statement
Susan Gans is a photographer in Seattle. Her urban and rural work explores what the accidental onlooker might not notice during daily travels through that landscape. Her photography often is documentary or “built” from compositing layers of images or double exposures to establish a narrative. Most is in black or white adhering to a journalistic or Street Photography tradition.
Other related work investigates the meaning of “place” in relation to history and the currents of change or investigates the meaning of “memory” metaphorically or as part of a biographical approach to tracking time past.
Once an active printmaker, this part of her practice now is more occasional and related to project work. However, the concept of creating layers as a technique for building a story comes from making prints prior to photographs.
Susan has a background in arts and museum education, and also spent time working in the public sector for social work agencies and a government Family Law practice. These experiences are interwoven in her images and ideas about the world she travels or seeks out.
