The exhibition brings together the work of Owen Kydd and Kyle Tata, two Los Angeles based artists based who challenge the boundaries of photographic depiction through materially innovative and conceptually rigorous practices.
Owen Kydd’s recent works continue his interest in images that occupy the space between photography and the moving image—pictures that unfold in real time yet resist the narrative expectations of cinema. Each piece begins as an observation: a room, a street, a window, a small arrangement of light and atmosphere. But the camera is only the first step. Once recorded, the image becomes a kind of digital material that can be adjusted, layered, or subtly altered until it behaves less like a document and more like a constructed surface.
Kydd aims to create a space where the smallest changes matter—where duration itself becomes the subject. The works offer a quiet but persistent invitation: to look for longer than necessary, and to notice what appears only when nothing is insisting on being seen.
In Kyle Tata's most recent body of work, he has created photographs that incorporate gestures associated with painting and sculpture through physical alterations of the negatives. He seeks to destabilize and critique the finite characteristics of the photographic image by physically manipulating the negative with abrasion, ink, and bleach. These marks merge with the captured image to produce something that exists only in this singular form—not as a document of one moment, but as a gestalt of absence and presence. As with all of his work, Tata aims for these photographs not merely to depict a subject, but to compel viewers to confront their own relationships with illusion, reality, and ambiguity.
Together, Tata and Kydd offer a compelling meditation on perception, materiality, and the fluid edges of the photographic medium.
