PORTFOLIO - Amazon S3€¦ · PORTFOLIO. [email protected] 1 chANDLErABBEY.cOM 1 ... as studio portraits shot with a Sony A7r3. The diversity in Abbey’s process mimics the

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● CHANDLER ABBEYGRAPHIC DESIGNERPHOTOGRAPHERARTIST

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GOD IS DOG PhOTOBOOK ↳ ○ ArTIST STATEMENT ↳ ○ GALLErY ↳ ○ ESSAY BY KATILYN PErrY ↳ ○ INDIVIDUAL IMAGES




The central quality of this collection of images stems from a two-part observation. First, the contemporary individual swims in the ambiguity of a brutal, hastily-assembled world. Second and in contrast, brief moments of light make existence beyond worthy, so all is not bleak. Still, genuine sentiment is often lost in translation, disease creates anxious energy, love is hard to feel, and most desire what will destroy them in the end. I believe that it is unproductive to focus on this darkness for there is a light hidden from the rational mind that lurks in the body and appears in moments of clarity. The images of this book attempt to bottle this light, as well as the shadows it produces.

The images also catalog, what it is like to be a young man today. Withan inconsistent disposition, the photographs interrogate, celebrate, and condemn the difficult and characteristic conventions of machismo, excess, vagrancy, and sexuality within the context of young men in california.

GOD IS DOG PhOTOBOOK ↳ ● ArTIST STATEMENT ↳ ○ GALLErY ↳ ○ ESSAY BY KATILYN PErrY ↳ ○ INDIVIDUAL IMAGES




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“Remember, man, that you are dust and to dust you must return. This is the first truth that must reign in our hearts; dust and ashes, corruption and worms, burial and oblivion. Everything passes away: today we are and tomorrow we are gone; today people miss seeing us, tomorrow we are wiped from their hearts.”

— Don Miguel Mañara, Discourse on Truth, 1671

In a tone of curiosity that approaches awe, God is Dog memorializes symbols of the solitary, simultaneously interrupting them with movement and the ephemeral. The series is split between Oregon’s coast, the Mojave desert, Los Angeles, and other quintessential californian landscapes. here a fairly obvious tension exists between the urban and the remote: Los Angeles—a place of chaos and smoke—and its quiet, more contemplative surroundings. “The city’s always LA,” chandler Abbey states in reference to the urban spac-es in God is Dog; “all the bad stuff happens in the city, and the more peaceful, solid moments seem to generally happen in a beautiful landscape.” In God is Dog, the Salton Sea and its bleakness, california’s desert scenery, and the rock formations at Joshua Tree National Park are all emphasized to the point of exaltation, serving as reminders of loneliness. Images of the Pacific Ocean and the Kelso Dunes highlight natural grandeur as well as the concomitant suppression and accentuation of what is human. Pictures split evenly between sand and sky dwarf the figures they represent while simultaneously stressing the presence of the individual. One of the book’s early images, Silhouette, engages directly with this idea while artfully challenging a notion of the sub-lime through Abbey’s inclusion of two silhouetted figures. This image, with its halved composition and allusions to Genesis, serves as a metonym for larger dualities within the series.

The opening image, Elliot in Scott’s Office, is the series’s earliest pho-tograph, and it depicts Abbey’s younger brother Elliot sitting in his step-grand-father’s office in Walla Walla, Washington. Engulfed in a room of 70’s wood paneling and stuffed pheasants, Elliot is submerged in a specific kind of mas-culinity, one that Abbey describes as “an odd sort of northwestern showman-ship.” The black cowboy hat and glasses, which look somewhat costume-like in the context of this photograph, allude to the performative aspects of mascu-linity. Elliot also serves as the subject of the subsequent photograph, although instead of taking his place within the office, he emerges shirtless from its dark doorway. In some ways this first pair of images provides an allegory for the rest of the book, in its exploration of the masculine and an interrogation of the self.

God is Dog features 35mm color and black and white film as well as studio portraits shot with a Sony A7r3. The diversity in Abbey’s process mimics the paradoxes that exist within his constructed world of movement and stillness, where the semordnilapic phrase “God is Dog” and its implica-tions of inverse only enhance an aspect of self-contradiction. In addition to landscapes, these photographs include intimately cropped portraits and still-lifes which foreground the importance of the individual and the banal. Abbey includes sporadic pairs of black and white portraits that interrupt the desolate locations and often frenzied moments of God is Dog. The men in these studio photographs are somewhat feminized through Abbey’s use of glitter and eye-shadow; however, the makeup that collects in their beards and along their jaw-lines also highlights the features that make them most masculine. By adding a reflectiveness to the subjects’ skin, the makeup evokes something extremely physical in its suggestion of sweat and exertion, be it sexual or otherwise. The omission of color and use of tight cropping in these studio portraits works to elevate and immortalize the subjects. In Sean with hands, the figure appears christ-like underneath his cosmetic sheen. his closed eyes and soft lips sug-gest something saintly and pure whereas his shiny skin and the sensuality of the female hands on his face evoke a fundamental lust.

Abbey questions the materiality of images through his post-photo-graphic treatment, most clearly seen in Self Portrait with Coffee, Salt, Water, and Myrrh. In an act of effacement, one that edges on self-rejection, Abbey obscures his own image by pouring coffee, salt, water, and myrrh onto his printed image. This almost violent gesture alludes to his desire to both capture and erase an image of himself; here, the photographer collapses into the role of subject, yet still remains unrecognizable. Abbey achieves similar effects in his other self portraits that incorporate shadows and mirrors.

Abbey seeks to capture something ephemeral through focusing on and interrogating manhood, youth, lust, and the environment, all of which are intimately tied to a uniquely californian ethic. The world of God is Dog is one in which young men indulge and cleanse, yield and abandon. cannabis clutters kitchen counters, and apartments are littered with cigarettes, pale bodies, and beer. The grime of partying, the dust of excess and oblivion, leaves its resi-due across the images, and Abbey’s use of blur demonstrates his attempt to capture what is fleeting. In this photobook what is doglike is also holy, and the things we hold sacred often prove destructive and profane.

GOD IS DOG PhOTOBOOK ↳ ○ ArTIST STATEMENT ↳ ○ GALLErY ↳ ● ESSAY BY KATILYN PErrY ↳ ○ INDIVIDUAL IMAGES




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THE SUBSECTION OF THE EAGLE POLEMIc PUBLIcATION ↳ ○ DEScrIPTION ↳ ○ rESEArch ↳ ○ FOrMAT ↳ ○ GALLErY




THE SUBSECTION OF THE EAGLE POLEMIc PUBLIcATION ↳ ● DEScrIPTION ↳ ○ rESEArch ↳ ○ FOrMAT ↳ ○ GALLErY

The Subsection of the Eagle materializes the aesthetic language of intimidation, utilized by IcE, into a publication. The publication considers the comprehen-sive statement the United States makes through their approach towards Latin American immigration. Legislature, fences, vehicles, technology, materials, sur-veillance, weapons, and the border structures themselves all contribute to the broad vernacular of U.S. southern border affairs.

The publication contains two formats: 6 ¼’ x 8 ⅓’ glossy within 9’ x 12’ news-print. The large format pages are digital infrared photographs captured on a canon 6D, with a Lee 87 red camera filter. Each exposure is 30 seconds, with a high aperture and ISO. The images mimic the cutting edge, incredibly expen-sive, and military-grade cameras the U.S. Border Patrol utilizes to do their job. The type on the small format pages is put through a simple program to shuffle each sentence, using the complete Secure Fence Act of 2006 as input. While none of the sentences are coherent, the shuffling is meant to instill a sense of confusion, anger, and inaccessibility to the sharp, non-human language of legal prose. Finally, the three central spreads are visceral digital paintings, that ex-press the grim, yet not completely devoid of hope, climate of border politics.




THE SUBSECTION OF THE EAGLE POLEMIc PUBLIcATION ↳ ○ DEScrIPTION ↳ ● rESEArch ↳ ○ FOrMAT ↳ ○ GALLErY

ISO 3000, 30s EXPOSUrE, BrOAD DAYLIGhT NIGhT, INSTANTANEOUS VIDEO

Electromagnetic Spectrum Showing recorded Wavelengths Between civilian Infrared Technology And Military Grade Surveillance Equipment

The graph above is measured in nanometers. The TacFLIr® 280-hD records wavelengths between 3-5 μm or 3000 to 5000 nm (middle wavelength infrared). My LEE 87 infrared camera filter blocks wavelengths below 730 nm, therefore transferring near and shortwave infrared wavelengths to an equipped camera’s sensor. The TacFLIr® 280-hD system instantaneously reads heat signatures for surveillance while a canon 6D equipped with a LEE 87 infrared filter requires a 30 second exposure time to record wavelengths on the lower end of the infrared radiation spectrum.




The small format pages act as both a linguistic and physical border, obscuring both the language of the Secure Fence act of 2006 as well as the image behind.

THE SUBSECTION OF THE EAGLE POLEMIc PUBLIcATION ↳ ○ DEScrIPTION ↳ ○ rESEArch ↳ ● FOrMAT ↳ ○ GALLErY




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LONESOME GEOGRAPHY ArTBOOK ↳ ○ DEScrIPTION ↳ ○ GALLErY ↳ ○ PErFOrMANcE




Lonesome Geography is a visceral publication governed by sense data as op-posed to factual data. Structurally the publication is split into four chapters, or-ganized by location. Each chapter explores the relationships between place, emotion, and memory. I chose to examine Oregon, Washington, california, and colorado as they each relate to my life.

The publication is accompanied by a performance that communicates a funda-mental hollowness from the california chapter. I spent the day digging a hole, alone, in the Sonoran Desert. The piece takes sentimental cues from the early 1900’s American folk song “I Wish I Was A Mole In The Ground.” Perhaps the driving force of the performance can be understood through Greil Marcus’ de-scription of the song:

“Now what the singer wants is obvious, and almost impossible to comprehend. he wants to be delivered from his life and to be changed into a creature in-significant and despised. he wants to see nothing and to be seen by no-one. he wants to destroy the world and to survive it. That’s all he wants. The per-formance is quiet, steady, and the quiet lets you in … You can imagine what it would be like to want what the singer wants. It is an almost impossible nega-tion, at the edge of pure nihilism, a demand to prove that the world is nothing, a demand to be next to nothing and yet it is comforting.”

LONESOME GEOGRAPHY ArTBOOK ↳ ● DEScrIPTION ↳ ○ GALLErY ↳ ○ PErFOrMANcE




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LONESOME GEOGRAPHY ArTBOOK ↳ ○ DEScrIPTION ↳ ○ GALLErY ↳ ● PErFOrMANcE

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FOSTER THE PEOPLEDESIGN LANGUAGE rESEArchFOr SACRED HEARTS CLUBFOr cOMMONWEALTh PrOJEcTS, LLc




FOSTER THE PEOPLEIMAGE TrEATMENT rESEArchFOr SACRED HEARTS CLUBFOr cOMMONWEALTh PrOJEcTS, LLcOrIGINAL IMAGE: NEIL KrUG © 2017

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TROPICS LA@TrOPIcSLA INSTAGrAM + KIcKSTArTEr cAMPAIGNFOr cOMMONWEALTh PrOJEcTS, LLcOrIGINAL IMAGE LEFT: ZEV SchMITZ © 2017

“TrOPIcS is a collaboration between friends in South LA. Bound by our love for skateboarding and healthy food, we created TrOPIcS to make a positive impact in our community.”




TROPICS LAMEDITATION FLYErFOr cOMMONWEALTh PrOJEcTS, LLc




TROPICS LAADVErTISEMENT IN ArT LOS ANGELES cONTEMPOrArYFOr cOMMONWEALTh PrOJEcTS, LLcOrIGINAL IMAGES: ZEV SchMITZ © 2017




KETO INC.SS15 LOOKBOOKART DIRECTION: chANDLEr ABBEY, BrYAN BENATTOU

PHOTOGRAPHY: ANDrEW cOhEN, chANDLEr ABBEY

MODELS: ELLIOT ABBEY, chANcEPLASKET, ErINI TSATALOS

STYLIST: BrYAN BENATTOU

LOCATION: JOShUA TrEE NATIONAL PArK

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PORTFOLIO - Amazon S3€¦ · PORTFOLIO. [email protected] 1 chANDLErABBEY.cOM 1 ... as studio portraits shot with a Sony A7r3. The diversity in Abbey’s process mimics the