New York

Sokhi Wagner

Christine Burgin Gallery

Sokhi Wagner’s recent photographs and photo-objects skittishly avoid interpretation. Intentionally obscuring her disjointed imagery, Wagner creates work with a highly cryptic presence. A series of four photographs (View from the Doorway, View from the Trail, View from the Stern, and View from the Shore, all works 1988) show her use of the medium to make images containing more mystery than information. From miles of film, Wagner edits out four stills and leaves them partially obscured, abstracting each image through obfuscation and decontextualization. Each of the tiny images she employs are actually rephotographed film stills. Circular halations reveal the majority of each image—a woman’s head in silhouette, a mountain vista, a misty seascape, a woman dragging a man out of the water—making these works resemble images generated by a pinhole camera. The “unlit” region of each photgraph is

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