Verge Collective photographer Sarah Hadley

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Expanse copyright by Sarah Hadley.
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If I Could Fly copyright by Sarah Hadley.
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The Road Goes On copyright by Sarah Hadley.
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Volleyball copyright by Sarah Hadley.

 

I’ve known Sarah Hadley casually for many months because we have attended the same artist receptions at galleries in Bergamot Station in Santa Monica, CA  and at other galleries in the Los Angeles area. Sarah is one of the Verge photographers who had photographs at their opening reception on May 10, 2014 at the Duncan Miller Gallery on Venice Blvd in Los Angeles.

Sarah grew up in Boston in a very unusual place. Her father was the Director of the Gardner Museum in Boston and her family lived on the fourth floor above the museum in the apartment Mrs. Gardner’s had built for herself. She says it was pretty amazing to grow up in a replica of a Venetian palace with Titian, Rembrandt and Sargeant paintings downstairs. Sarah says it has definitely had a big influence on her life.

Sarah was a bit of a nomad after college finally settling in Chicago, where she lived for about 15 years. Five years ago she moved to L.A.. 

Sarah told me that she got a camera in 4th grade and started making photos right after that.  She originally studied art history in college, but went back and got a second degree in photography from the Corcoran College of Art at the age of 25.

Here is what Sarah has to say about her work:

I think every photographer talks about the magic of seeing that first image appear in a tray of developer and of being hooked for life. I believe a good photograph asks more questions than it answers, and my photography is a way for me to constantly challenge myself to really look at the world around me. There is something intangible about the best photographs, something that reminds us of the moment between wake and sleep, and of the beauty that we see and feel but cannot describe, and of our own mortality. These are the kinds of images I try to make.

My current work revolves around the feeling of longing. I love to travel but want to be everywhere at once, even at home. I yearn for the past, yet love daydreaming about the future. I work in sepia and often blur the edges, both as a nod to antique photographs and as a way to draw more depth and feeling out of a black and white image. I want the places to seem dream-like and otherworldly, as if the place is both familiar and unknown. I used to be a street photographer, but at the moment I am drawn to the expanse of the ocean and the vastness of the landscape. 

 

By Jim McKinniss

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