Sienna Freeman is a San Francisco based visual artist and writer. Her visual work has exhibited across the United States and internationally in Switzerland, London, Belgium, and Canada. Her written work has been published on DailyServing.com, ArtPractical.com, and in the California College of the Arts’ Sightlines journal. Freeman earned an MA in Visual & Critical Studies and an MFA in Fine Art from the California College of the Arts in San Francisco and a BFA in Photography from the University of the Arts in Philadelphia.
My work draws upon significant personal experiences that illuminate the extremities of human consciousness: altered or heightened states of physical, psychological, or emotional condition. In these cumulative moments, which are characterized by their intense, transgressive, revelatory, and often dream-like nature, I find terrain for contemplation and investigation. Seeming to exist simultaneously in dichotomous spaces, perhaps pulled inside out through opposing forces, these dialectical borderland instances expose the complexity of territories between the intellect and the senses, places where the logical mind and subconscious interface with a deeper sense of being.
Through the fragmented, layered, and surgical process of collage, I seek to investigate these surreal areas of radical opposition. Modifying my own photographs, appropriated images, and found objects, aspects of my process can be looked at much like a combination of stream of consciousness and constrained writing techniques. I manipulate and assemble source materials as I go, working within a fixed set of thematic, conceptual, or visual constraints. In dialogue with historic techniques and concepts utilized by the Surrealists, these methods allow for an automatic processing of visual information on a semiotic level, an intuitive sense of sight that is both linked to and detached from our contemporary mass media experience and corporeal understanding of the world around us.
My most recent work investigates fusions and fissures between the imaginary-visual and the material-haptic as tied to perceptions of selfhood and otherness. Here, the material of cloth is metonymic for the boundaries of the body, both formally and symbolically. Culled from the most intimate to commercial sources, such as my own closet to bridal shops on Amazon.com, satins and silks in hues associated with both the inside and outside of the body (blood red, chocolate, taupe, pink) are photographed, dissected, rearranged and then cast in plastic resin, becoming image-based icons for thresholds of (dis)embodiment, corporeality, cyclicality, and circumscription.