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Ellipse

Ellipse


2015 – 2016

Ellipse is a series of abstract photographs created in May 2015, taken inside a concrete observatory, and formed by multiple exposures within the camera.

The series represents a composition of light, shapes, shadows, lines and forces. The expression, not only through a single picture but also as a whole, is the result of various elements; the materials, the light, the shadow, the edge of the concrete, the air, the ocean and the horizon all work as an influence on the creative process.

The purpose is to create, from one image to another, a spiral in motion. Shapes, circles, ellipses and movements are organic and energetic; forces in contact with each other. Showing intangible ideas that can be felt and connected through what awakens in each person.

Geometry, as space and source of inspiration, generates images that are open to the interpretation of the observer. However, it is inevitable to perceive the strength they have when they combine and generate a greater space.

The series seeks to awake a reflection on the bond between human beings; how a stronger space is constructed in community, the same way an image meets another sibling image, and they connect.

Ellipse


2015 – 2016

Ellipse is a series of abstract photographs created in May 2015, taken inside a concrete observatory, and formed by multiple exposures within the camera.

The series represents a composition of light, shapes, shadows, lines and forces. The expression, not only through a single picture but also as a whole, is the result of various elements; the materials, the light, the shadow, the edge of the concrete, the air, the ocean and the horizon all work as an influence on the creative process.

The purpose is to create, from one image to another, a spiral in motion. Shapes, circles, ellipses and movements are organic and energetic; forces in contact with each other. Showing intangible ideas that can be felt and connected through what awakens in each person.

Geometry, as space and source of inspiration, generates images that are open to the interpretation of the observer. However, it is inevitable to perceive the strength they have when they combine and generate a greater space.

The series seeks to awake a reflection on the bond between human beings; how a stronger space is constructed in community, the same way an image meets another sibling image, and they connect.

Dubai Photo 2016, curated by Magnolia de la Garza

Elision

Elision


2016

Elision


2016

Artist Book
Edition of 100
Risographic Print

Elision refers to overlapping phrases in music, when the last note of one phrase serves as the first note of the next phrase, usually for a short period of time.

Published by Special Collections Press
University of Cincinnati
College of Design, Architecture, Art and Planning
www.specialcollections.biz
© 2016 Fabiola Menchelli

Edited by Amanda Curreri and Jordan Tate
Thank you to the University of Cincinnati,
and to Jordan, Amanda and Luke.
Thank you to Laia Rius.




Fabiola Menchelli
Elision, 2016, Artist Book, Risograph Print, Edition of 100




Blueprints

Blueprints


2015

Blueprints was commissioned for the exhibition “Appearances Can Be Deceiving: Photographic Explorations through Mexican Photography”, curated by Irving Dominguez with the support of Museo Universitario del Chopo and Fondo Nacional para la Cultura y las Artes.

This project sought to invert the relationship between photography and architecture, and return the museum’s building to its original space as a blueprint. Over a period of a month, I climbed the towers at the Chopo Museum in Mexico City, registering the shadow of the structure onto cyanotypes. The intention of the work was to reconnect architecture and photography, returning the building to its conceptual state through a poetic gesture that speaks about space in relation to time.

Blueprints


2015

Blueprints was commissioned for the exhibition “Appearances Can Be Deceiving: Photographic Explorations through Mexican Photography”, curated by Irving Dominguez with the support of Museo Universitario del Chopo and Fondo Nacional para la Cultura y las Artes.

This project sought to invert the relationship between photography and architecture, and return the museum’s building to its original space as a blueprint. Over a period of a month, I climbed the towers at the Chopo Museum in Mexico City, registering the shadow of the structure onto cyanotypes. The intention of the work was to reconnect architecture and photography, returning the building to its conceptual state through a poetic gesture that speaks about space in relation to time.

“26 de Agosto 2015, 14:10 h. Torre Sur Museo del Chopo,
tiempo de exposición13 min”
Cianotipia sobre tela montado sobre bastidor
90×60 cm (35 x 23”)
“26 de Agosto 2015, 11:06 h. Torre Sur Museo del Chopo,
tiempo de exposición13 min”
Cianotipia sobre tela montado sobre bastidor
90×60 cm (35 x 23”)
“26 de Agosto 2015, 11:06 h. Torre Sur Museo del Chopo, tiempo de exposición13 min” Cianotipia sobre tela montado sobre bastidor  90x60 cm (35 x 23”)
26 de Agosto 2015, 11:06 h. Torre Sur Museo del Chopo,
tiempo de exposicin min
Cianotipia sobre tela montado sobre bastidor
90×60 cm (35 x 23″)
“26 de Agosto 2015, 10:37 h. Torre Norte Museo del Chopo, tiempo de exposición13 min” Cianotipia sobre tela montado sobre bastidor  90x60 cm (35 x 23”)
26 de Agosto 2015, 10:37 h. Torre Norte Museo del Chopo, tiempo de exposicin13 min
Cianotipia sobre tela montado sobre bastidor
90×60 cm (35 x 23″)
“23 de Agosto 2015, 12:15 h. Torre Sur Museo del Chopo, tiempo de exposición15 min” Cianotipia sobre tela montado sobre bastidor  90x60 cm (35 x 23”)
23 de Agosto 2015, 12:15 h. Torre Sur Museo del Chopo,
tiempo de exposicin15 min
Cianotipia sobre tela montado sobre bastidor
90×60 cm (35 x 23″)
23 de Agosto 2015, 11:45 h. Torre Norte Museo del Chopo, tiempo de exposición15 min”  Cianotipia sobre tela montado sobre bastidor  35 x 23” (90x60 cm)
23 de Agosto 2015, 11:45 h. Torre Norte Museo del Chopo,
tiempo de exposicin 15 min
Cianotipia sobre tela montado sobre bastidor
90×60 cm (35 x 23cm)
“23 de Agosto 2015, 10:47 h. Torre Norte Museo del Chopo, tiempo de exposición13 min” Cianotipia sobre tela montado sobre bastidor  90x60 cm (35 x 23”)
“23 de Agosto 2015, 10:47 h. Torre Norte Museo del Chopo, tiempo de exposicin 13 min
Cianotipia sobre tela montado sobre bastidor
90×60 cm (35 x 23″)

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20150830_menchelli_chopo_pre_033

Las Apariencias Engaan: Exploraciones a partir de la fotografa en Mxico, 2015
Project supported by el Fondo Nacional para la Cultura y las Artes & el Museo Universitario del Chopo

Wall Drawings

Wall Drawings


2014

Using the patterns that are formed by the holes on the concrete wall, a set of rules is created to draw a series of geometric structures on to the wall. Wall Drawings is a game obliged by a set of visual rules using a digital projector to draw on the concrete wall.

Participated in the XII Bienal FEMSA.

.

Wall Drawings


2014

Using the patterns that are formed by the holes on the concrete wall, a set of rules is created to draw a series of geometric structures on to the wall. Wall Drawings is a game obliged by a set of visual rules using a digital projector to draw on the concrete wall.

Participated in the XII Bienal FEMSA.

.

Wall Drawings
Fabiola Menchelli, Wall Drawing I, 2015, Archival Pigment Prints on Fibre Paper, 11 x 14″ each

Concrete space

Concrete space


2014 – 2015

Concrete Space suggests the limits and tensions between thought and matter. This body of work presents a series of instant black and white film, taken in different construction sites, framed in concrete. The abstract spaces are constructed inside of the camera, by making multiple exposures on the same picture plane, thus transforming the space into a mental space, that only the camera can perceive. The work seeks to speak about a phenomenology of construction through a series of images that transform the physical space, a space made of concrete, into an abstract plane generated by light. The piece finally returns to its physicality by pushing of the wall and remembering its concrete reality.

Project supported by Fondo Nacional para la Cultura y las Artes.

Concrete space


2014 – 2015

Concrete Space suggests the limits and tensions between thought and matter. This body of work presents a series of instant black and white film, taken in different construction sites, framed in concrete. The abstract spaces are constructed inside of the camera, by making multiple exposures on the same picture plane, thus transforming the space into a mental space, that only the camera can perceive. The work seeks to speak about a phenomenology of construction through a series of images that transform the physical space, a space made of concrete, into an abstract plane generated by light. The piece finally returns to its physicality by pushing of the wall and remembering its concrete reality.

Project supported by Fondo Nacional para la Cultura y las Artes.

Project supported by Fondo Nacional para la Cultura y las Artes.

Hallucinations

Hallucinations


2013

“One does not see with the eyes, one sees with the brain”
Oliver Sacks

I use the camera as if it was my brain constructing meaning from darkness to light. The process for this work was to create images of imaginary spaces, spaces that only the camera could see, made out of pieces of pictures by doing multiple exposures unto one frame. Drawing from black to white, calculating layers of shade and balancing foreground and background, in a memory game that does not finish until the image is complete.

This project is inspired and dedicated to Oliver Sacks.

Hallucinations


2013

“One does not see with the eyes, one sees with the brain”
Oliver Sacks

I use the camera as if it was my brain constructing meaning from darkness to light. The process for this work was to create images of imaginary spaces, spaces that only the camera could see, made out of pieces of pictures by doing multiple exposures unto one frame. Drawing from black to white, calculating layers of shade and balancing foreground and background, in a memory game that does not finish until the image is complete.

This project is inspired and dedicated to Oliver Sacks.

Hallucinations 1, 2013, Archival pigment print.
Hallucinations 2, 2013, Archival pigment print.
Hallucinations 3, 2013, Archival pigment print.
Hallucinations 04, 2013, Instant black and white film, 3.5 x 4.5″
Hallucinations 6, 2013, Archival pigment print.
Hallucinations 5, 2013, Archival pigment print.
Hallucinations 07, 2013, Instant black and white film diptych, 3.5 x 4.5″ each.
Hallucinations 8, 2013, Archival pigment print.
Hallucinations 9, 2013, Archival pigment print.
Hallucinations 10, 2013, Archival pigment print.
Hallucinations 11, 2013, Archival pigment print.
Hallucinations 12, 2013, Instant black and white film, 3.5 x 4.5″
Hallucinations 13, 2013, Archival pigment print.

Polaroids

Polaroids


2013

Unlike painting, photography is based on additive color theory, in which the primary colors are red, green and blue, and yellow is simply the result of red and green light. The images are constructed from layers of paper exposed multiple times to generate different colors and shapes. These photographs where taken with one of the few Polaroid 20 x 24″ cameras that exist in the world. And although the result is a two-dimensional photographic image, the edge of the piece makes evident the developing process. In this way, the work produces a tension between the intangible and the concrete to reveal the raw material that constitutes the photographic process, creating the illusion of an architectural space.

Polaroids


2013

Unlike painting, photography is based on additive color theory, in which the primary colors are red, green and blue, and yellow is simply the result of red and green light. The images are constructed from layers of paper exposed multiple times to generate different colors and shapes. These photographs where taken with one of the few Polaroid 20 x 24″ cameras that exist in the world. And although the result is a two-dimensional photographic image, the edge of the piece makes evident the developing process. In this way, the work produces a tension between the intangible and the concrete to reveal the raw material that constitutes the photographic process, creating the illusion of an architectural space.

fabiola menchelli
Fabiola Menchelli, Yellow and purple polaroid, 2013, 20 x 24″ Polaroid print
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Fabiola Menchelli, Pink and red polaroid, 2013, 20 x 24″ Polaroid print
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Fabiola Menchelli, Green and blue polaroid, 2013, 20 x 24″ Polaroid print
MassArt Studio with 20 x 24″ Polaroid Camera, 2013
Fabiola Menchelli, Mathew Corning & Robin Meyers
Photograph by Matthew Monteith

Constructions

Constructions


2012 – 2013

In a digital age where the boundaries between the virtual and the physical blend and generate new experiences, I am interested in using the language of abstraction to make images which seem to present a tangible visible reality but which are in fact never quite there, except in the eye of the camera and the mind of the maker. In the studio, I construct installations using simple materials and project light on to them. I seek to transform the physical with light and shadow. The process of integrating these elements into a picture allows me to play with the materiality of thought. I aim to challenge our beliefs about perception and make thought visible by drawing attention to the light as it embraces the surface of paper and animates space. The interaction between light and shadow transforms these ephemeral installations into complex visual spaces that evoke a world that is both physically tangible and as elusive as light, both virtual and real.

Constructions


2012 – 2013

In a digital age where the boundaries between the virtual and the physical blend and generate new experiences, I am interested in using the language of abstraction to make images which seem to present a tangible visible reality but which are in fact never quite there, except in the eye of the camera and the mind of the maker. In the studio, I construct installations using simple materials and project light on to them. I seek to transform the physical with light and shadow. The process of integrating these elements into a picture allows me to play with the materiality of thought. I aim to challenge our beliefs about perception and make thought visible by drawing attention to the light as it embraces the surface of paper and animates space. The interaction between light and shadow transforms these ephemeral installations into complex visual spaces that evoke a world that is both physically tangible and as elusive as light, both virtual and real.

Fabiola Menchelli, Balancing Light, 2012, Archival Pigment Print, 30” x 22.5” / 76 x 57 cm
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Fabiola Menchelli, Archway, 2012, Archival Pigment Print, 30” x 22.5” / 76 x 57 cm
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Fabiola Menchelli, Blueprint, 2012, Archival Pigment Print, 40 x 30” / 102 x 76 cm
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Fabiola Menchelli, Curved, 2012, Archival Pigment Print, 40 x 30” / 102 x 76 cm
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Fabiola Menchelli, Grabbed, 2012, Archival Pigment Print, 30” x 22.5” / 76 x 57 cm
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Fabiola Menchelli, Three 90º Angles, 2013, Archival Pigment Print, 30” x 22.5” / 76 x 57 cm
fabiola menchelli
Fabiola Menchelli, Triangular Hall, 2012, Archival Pigment Print, 30” x 22.5” / 76 x 57 cm
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Fabiola Menchelli, A guitar for Paola, 2012, Archival Pigment Print, 40 x 30” / 102 x 76 cm