Bryan Florentin

Bryan Florentin

Bryan Florentin

Photography
Senior Lecturer
M.F.A., The University of North Texas
FA-352
bryan@uta.edu

Florentin received his MFA in Photography in 1998 from The University of North Texas, studying art history with an emphasis on critical theory. ARTIST'S STATEMENT Most of my recent work is relatively small-scale installation. Inasmuch as it privileges content and idea over appearance, it owes a debt to conceptual art. Like a lot of idea-driven work, the form that the work takes is integral and inseparable from the content/idea. Although my work is not necessarily media-specific, it frequently involves a photographic component and/or text. Most of the writing is short narrative and speaks of experiences and observations categorized by topics such as looking, desire, and language. Work that does not employ text may also fit thematically or conceptually into the same categories. The text of Interior is a short story that deals mostly with looking in general and with the relationship between observer and observed specifically. The story in conjunction with the rest of the work looks at various forms of imprisonment and constraint: being trapped in one's own body and in one's own head; accidents of birth that configure the physical and psychological self; and the contrast between self-imposed and externally implemented degrees of physical and psychological imprisonment. Ideas that figure into some of my other work or that influence my creative process: the role that photography plays as part of the machinery of mass media production, distribution, and consumption; the morphological aspects of photography, such as how it can be a technology or a medium depending on its use, and how a given image can be information, data, "evidence," or art depending, at least in part, on context; the concepts of masculinity and gender identification in relation to sexuality; the question of whether or not human subjects are always/sometimes/never an object in the photographic scheme of things, and at what point(s) in the scheme does objectification reside if it lodges there at all; and, related to this last issue, are actual corporeal humans more likely to be psychologically configured as objects as a result of the surplus of photographic imagery in contemporary culture