(1972 Born in Nashville, Tennessee (US))
Taking found imagery and film as a point of departure in her work, Marlo Pascual creates photo-based sculptures, installations, and images that employ strategies of artistic movements such as Conceptual Art, Surrealism, Minimalism, and Arte Povera.
Re-examining the viewer’s relationship to the photograph, Pascual is interested in exposing an image’s active presence by playing with the relationship between the work, the space, and the viewer.
By creating sites of engagement, whether that site is in the form of the domestic or the theatrical, the image is the catalyst.
Pascual culls her vintage pictures from eBay and thrift stores, some coming out of an amateur photography club where the photographers strive to take ‘artistic’ photos. They are of historical genres; still lifes, interiors and furniture, portraits, headshots, nudes, and pin-ups. When they arrive, the images are small, handheld, fetish-like objects.
In an interplay with the photograph’s own physicality as an object, Pascual then enlarges, crops, and re-stages the images using minimalist objects, props and lighting to form new relationships. Filtered through her imagination, the subjects are removed from their previous context and recast in new roles.