available works from stories
Charlie Perez-Tlatenchi
available works
click images to learn more
email davislee@haul.gallery for purchasing info
About Charlie:
Charlie Perez-Tlatenchi is an artist living and working in Brooklyn, New York. He works in photography, music and collage to illustrate alternative understandings of cultural authenticity, history and aspiration. Collage is essential as both an artistic process and conceptual framework to reconcile with displacement. It also allows for the combination of images, perspectives and temporalities, constructing a refuge from linear narratives of cultural integration. His work is influenced by the streets of his home neighborhood of Sunset Park, his Mexican-American sensibility, and underground music aesthetics. He is also the founder of experimental music label Pastel Voids
Martha Naranjo Sandoval
available works
click images to learn more
email davislee@haul.gallery for purchasing info
Petén 411 series
From Martha:
Petén 411 is an apartment building located in the Narvarte neighborhood in Mexico City; my family refers to it as just “Petén”. My mother comes from a numerous family, 9 siblings to be exact. The history of my family’s inhabitance of “Petén” goes back to the 60s, when the oldest sibling started renting one of the smallest apartments while she attended med school. As the other siblings started immigrating to the city, they began to move in and out of different apartments in the building, only two of them never did. My mother was the last sibling to live there, occupying the biggest and brightest of the apartments, Apartment 1. I grew up there with my parents, my brother, and an aunt until I was 7. I remember some parts of it vividly, others very dimly, most of it I probably don’t remember and just store some imagination of it. We moved out in 1995 to the suburbs of Mexico City. I remember that day as my first big loss. “Petén” never belonged to us, and yet it’s impossible to tell my family’s story without talking about it.
Bellows series
scanned found family photos, digitally collaged, printed on color photographic slide film, viewed stereoscopically
From Martha:
Starting in the ‘40s and up until the ‘70s, there was a semi-popular photo-technology meant to bring 3D photography to the masses: stereo slides, made with a special two-lensed camera.
The camera generated two frames from one scene, which you'd need to mount in a special holder. To view the slide, you’d insert it into a back-lit viewer, which you’d hold to your face like binoculars. Each eye sees one of the two frames, and the brain juxtaposes these two image to generate the illusion of three dimensions.
I’ve collected over three thousand of these slides, all of which are family photos. All family pictures are interesting, their amateur quality and our reasons for taking them produce objects that are as much intentional as they are accidental. But the slides that I’ve collected are also interesting in other ways: they are made with positive film, which means they were once physically in front of their subjects; you look at them through a viewer that is held by one person at a time with a warm back light, which generates a special relationship between the viewer and the picture; and, of course, they simulate depth. I am interested in the depth of photographs, whether it is the few millimeters of paper in printed pictures, the information in a raw file, the simulated three-dimensionality of a picture, or the narratives and memories accumulated in them.
Then I made the pieces in this project with images from these stereo slides, they are mounted as stereo slides and viewable through a stereo viewer to simulate 3D. With this work I explore the different aspects of depth that photographs can accrue, through human relationships, time, and technology.
Pricing:
1 slide + viewer
$400
4 slides + viewer
$1,400
About Martha:
Martha Naranjo Sandoval is a Brooklyn-based filmmaker and visual artist from Mexico City. Her work focuses on the materiality of image; in the difference between how time is portrayed in moving and still image; and in how images gain significance culturally.She makes stereoscopic collages, light installations, multimedia installations, slideshows, and books. She works with different mediums using obsolete technology designed to remember. Most of her pieces start with Family Recordings (home videos, family albums, travel postcards), which she is interested in because it is a kind of vernacular photography that is important to whoever took it but not to a lot of other people; it is part accidental; it documents what the daily life of a place looks like at a certain time; and it is used to remember. Since materiality and experience are a big part of this work, the best way to experience it is standing in front of it.