Pamela Bannos: Micro

Pamela Bannos: Micro

The DNAge was a New York City based festival celebrating the 50th anniversary of the discover of DNA in 2002.

Women in Science (Genomically Yours) was one of six exhibitions that were mounted as part of the celebration. The exhibition was presented at Universal Concepts Unlimited, located at 507 W. 24th Street.


An ongoing aspect of my photo-based works has been to challenge the veracity of the photographic image. I have done this in a number of ways including presenting found photographs along with my original photographs, re-presenting objects through photographic depictions, titling a work to shift the meaning, and presenting the work as 'scientific' imagery. I have been interested in how the reading of my photographs can change in relation to the context in which they are presented. I would like the viewer to be able to approach the work in more than one way. That is, to see the work in an initial way and then have the works become transformed when additional information is presented or a change in context becomes apparent. I have recently become interested in how in the guise of science photographs are inherently 'believable.'

In the Micro series, I am presenting circular abstractions which allude to biological or chemical structures. I was interested in how the circular form seems to occur naturally in these and other branches of science and how these abstract images can be 'read' by a scientist. These photographs seem as plausible as the image attributed to Rosalind Franklin of "x-ray crystallography of DNA" used as this exhibition's postcard image. A representation of this sort seems inconceivable to me.

As in my previous series, Imagining Space, the Micro images were made in the dark without a camera. As opposed to the "space" pictures that were made in the darkroom, often manipulating the prints while in the developer chemical, the "observations" were made directly on 4x5 inch film. Each image was drawn with a glowing ember.

20 x 16" selenium toned silver prints, 2002.

Pamela Bannos © 2019

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