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The
photographer sees light as a magical tool, using it to reveal the ignored
in ordinary, mundane events. Linda Ward Selbie’s photographs can be read
as casual snapshots, recorded without pretension, revealing the artist as
both voyeur and collector. Some images may seem superficial yet underlying
each is sincere contemplation of the elements framed within. Ward
Selbie’s passionate use of colour evokes abundance, yet within many
images there are subtle elements of decay evoking references to the
memento mori of romantic life illustration.
Born in Canada in 1949, Linda Ward Selbie
is a graduate in Media Studies at Ryerson University, Toronto. Since 1981
she has participated as both artist and art curator in the Durham, Ontario
cultural community. Within her oeuvre, she has created a body of work that
touches on a variety of themes, including the objectification of isolated
remnants of paternalism encountered in contemporary society.
Exhibitions such as Circus Vesta (1992) portray women and girls
surrounded by collaged segmented body parts made with details of swimsuit
models clipped from daily tabloids.
Essentially interested in social dynamics of interaction and the way free
expression is suppressed, the artist does not shy away from presenting the
provocative seen while observing people at play in festivals or parades.
Masquerades allow indulgences that are otherwise forbidden. Mardi Gras in
New Orleans is an ongoing public spectacle that continues to attract the
eye of the photographer. Ward Selbie sees the blatant sexual displays
played on the stage of Bourbon Street in broad daylight as bold
expressions of freedom, not of antisocial behaviour. Masked participants
challenge the constrictions of a sexually repressed society, amusing
anyone willing to watch. Linda Ward Selbie delights as
photographer/voyeur, playing a role at such events recording
exhibitionists who pose with abandon for the camera.
The artist also explores cemeteries, creating beautiful imagery of
decaying statuary and other artifacts. The series Angelus (1994) offers
carved romantic Victorian garden figures set in lush cemetery landscapes
juxtaposed with pictures of children’s graves.
Subtle differences occur in the displays of Europe and North
America, which often include plastic toys from pop culture such as Barbie
dolls or Hot Wheels cars.
Linda
Ward Selbie is a Canadian who appreciates the freedom to travel, explore
and record experience. Currently the artist is working on a mixed media
fetish series ‘Amulet Art’ that incorporates found objects with
digital photo prints. |