Rachelle Bussières (Quebec City, Canada) received her MFA from San Francisco Art Institute in 2015. She lives and works in Brooklyn, NY. Her practice is at the intersection of photography and sculpture, moving through a collision of materials and documents through the lumen photographic process. She fabricates and assembles objects that are stacked, folded, and arranged as a point of departure to make new documents while applying the lumen print process through a series of different exposures on gelatin silver paper. Bussières is the recipient of the Penumbra Workspace Award from Penumbra Foundation and the Award for Excellence from the Canada Millennium Scholarship Foundation. She has had recent solo exhibitions at Penumbra Foundation (NYC, USA), Johansson Projects (Oakland, USA) and Robert Koch Gallery (San Francisco, USA). Some recent group shows include Seattle Pacific University (Seattle, WA), Tiger Strikes Asteroid (Brooklyn), Soil Gallery (Seattle, WA), the General French Consulate (San Francisco, CA), the Wing (San Francisco, CA), the Center for Fine Art Photography (Fort Collins, CO), Minnesota Street Project (San Francisco, CA), Galerie l’Inlassable (Paris, FR), Headlands Center for the Arts (Sausalito, CA) and Present Company (Brooklyn, NY). She was awarded residencies at Penumbra Foundation, Banff Centre, Minnesota Street Project and Headlands Center for the Arts. Her work is present in various public, corporate and private collections, including the Museum of Contemporary Photography in Chicago, SFMOMA Library and Archives, Facebook (commission mural) in Sunnyvale, Instagram Inc. in San Francisco and Penumbra Foundation in New York City. She is part of the first cohort in the new residency program at the World Trade Center, the Silver Art Projects.
About the work
In Rachelle Bussières’s works the capture of place typical of photography is forestalled to that final stage in which light and paper and shape and time push against one another; she creates a delicate rendering of simple forms carries something of the place. The chemistries at play do their part, harnessed to interact in real time with the artist in the dark room without the intermediary of a negative’s recording fixed at another time and place. The light of the site of the works’ making also participates, with the air and sun slipping into the lab and onto the paper’s chemistry charged with peculiarity, personality, simultaneously captured in the work and an accomplice to its making. There is an alien purity to the shapes and colors which surface, subtly but confidently, into the worlds captured and created by Bussières. Heavenly architecture, dawn and dusky skies are drawn sometimes sharply, sometimes in a haze, in pale intermediate colors, in not quite oranges or purples or blush pinks, making a spectral portrait of this particular sun’s travels through this particular atmosphere, these clouds. -- Aaron Harbour