It’s often interesting when contemporary artists appropriate certain characteristics of other [older] media formats into their work, as is the case with some images from June Glasson’s series “The Foulest of Shapes,” which I was introduced to in a Morbid Anatomy post. With titles such as: “The Jardin Mabille in Lewdness and Indency,” “How Unsuspecting and Innocent Old Gentlemen are Ingeniously and Photographically Covered by Confusion,” and “The Dizzy Disciple of Terpsichore Taken for a Ride,” it’s hard to precisely locate the temporal setting of these 2009 ink on paper works, though for me, the smeared semblance of pinstripes and vague outline of women’s up-dos suggest a turn of the century feeling. More than anything, though, these images compell me because of their obvious resemblance to stereoscope cards. Though there is no indication or accompanying documentation to suggest that the images would produce the illusion of depth when placed in the apparatus, their side-by-side format and distinct shape nevertheless seem to maintain an intriguing potential for optical transformation under the right conditions.
(Damsel With a Gun, 2009)