Brooke Lilia Nasser
Originally from Honolulu, Brooke graduated with High Honors from Dartmouth College in 2000 for her thesis, a novel entitled AUTOBIOGRAPHY OF A GIRL. She earned my MFA in Film Production from USC School of Cinematic Arts in 2007 and has since written and produced short films, feature scripts, and documentaries. She is currently working as a freelance journalist and photographer, having moved from Los Angeles to Maine in December 2015. Her photography has been featured in Asymmetric Magazine (January 2016) and Nakid Magazine's Artist to Watch series (June 2015). Her poetry has been published online and in print, most recently in Ink, Sweat & Tears (October 2016). Recent writing credits include articles in Desert Magazine, Ladygunn and Rogue Magazine. Her photography was selected for the Western Mountain Juried Exhibition (September 2016) and the LA Municipal Art Gallery’s Biennial Juried Exhibition (June – September 2015).
My Moon series features composites that explore the idea of layering light and imagery, the way one naturally does with ink or paint, but I am doing it with photography.
I’ve always been fascinated with the way im
ages, when placed side-by-side, can complement or oppose one another or, at times, do both at the same time.
This troubling, exciting, complicated relationship was first introduced to me when I was studying film as an undergraduate at Dartmouth College and watching Dziga Vertov and Eisenstein films. Reading about Soviet montage theory and the Kuleshov Effect and then seeing these film theories in action on the screen was electrifying. It started a 20-plus year fascination with juxtaposition and contextualization and layering in art -- and I explore these ideas with not just my filmmaking but with my writing and photography as well.
Montage (aka editing) has been a lynchpin in filmmaking from its very origins, from the moment people sat in a dark theater and thought a train was barreling at top speed from a train station in the French coastal town of La Ciotat through space and time through a barrage of flickering light and sequential images directly into the theater!
Sergei Eisenstein, in "A Dialectic Approach to Film Form,” noted that montage is "the nerve of cinema" and felt that understanding montage was key to understanding film. The Kuleshov Effect, demonstrated by Soviet filmmaker Lev Kuleshov in the early 1900s, shows the significance of editing by experimenting with the order of images. Hitchcock and Truffaut took these early experiments and explored montage theory further with their films.
With photography, because it is a seemingly static, two-dimensional artistic medium, I have been challenged to find a creative way to explore layering and juxtaposition. This new Moon series is my most recent expression of that challenge. Hegelian Dialectics at work in art!
All images courtesy of Brooke Lilia Nasser