Bergamot White Triptych
Los Angeles, California, U.S.A.
Inkjet Print
1997
Morphosis Beverly Building Triptych
Los Angeles, California, U.S.A.
Inkjet Print
1988
Getty Shadows Triptych
Los Angeles, California, U.S.A.
Inkjet Print
1997
Getty Terrace Triptych
Los Angeles, California, U.S.A.
Inkjet Print
1997
Carmy House Floor Triptych
Los Angeles, California, U.S.A.
Inkjet Print
1995
Okun records architectural structures through multiple exposures. Using a large-format Hasselblad camera, she takes a picture, then advances the film only slightly to achieve a layering effect. A single image may comprise six such overlays, which might then become part of a triptych. Okun’s background is in film, so it follows that the spatial information unfolds sequentially; the images are fragmented and superimposed, causing unexpectedly lyrical interpretations of buildings and space to emerge.
Yet for all their abstraction, what is also compelling about these images is their essentially traditional approach to the documentation of architecture. These days, architectural photography tends to consider circumstances beyond the built form:- climate, use, landscape, and human accessibility — to position the building in its social and environmental context. Okun, however, sticks to the structural facts; her images read as formal records and revelations of space, form, color, and light.
[Extract : Metropolis Magazine, May 1996 : Harmonious Fragments By Akiko Busch]
very nice indeed!