OCAD graduate Kirsten White's photos are playful examinations of the curiosities and humanizing realities learned through coming of age. Themes like depression are dealt with humour and care in an effort to bring comfort and point out commonality amongst humans. Her photographs in the series, "Lashes of Love" take a closer look at the rituals played out by couples, and again poignantly and with wit bring comfort by showing how presumed private (and perhaps fetish like) acts, are in fact universal. Her work evokes both laughter and discourse surrounding uncomfortable subject matter.

1. What subject matter do you primarily choose to photograph, and why are you drawn to this subject matter?

Since I am a jack of all trades when it comes to genre's of photography I'd say I like to take a lighter look at more touchy issues. With both bodies of work I have in CONTACT this year I deal with very seperate subjects but in a very similar way , and likewise with a touch of humour. I think humour helps everyone relate, even to issues's like depression or death that they may not have experienced first hand.

2. What do you hope to communicate to an audience through your work?

With "No Peek-A-Boo Please" I want to communicate that depression is rampant in this generation and that feeling isolated isn't singular ; many people are suffering. I hope those photo's open up a dialogue about that isolation that so many people put themselves threw.
With " Lashes of Love" , as done with my partner Paul Sergeant , I want to communicate how coupling rituals that don't deal directly with seduction are rare. I feel that back scratching is intimate enough that maybe only a partner could do it, but at the same time it holds some soft fetishism in it. The act of creating visual violence , but not becoming violent , is something that holds the ideals of soft fetishism . As this fetish is not often explored this body of work also gave that sexual genre a voice.

3. What are the biggest challenges you face in your work?

I'm finding that as long as I set out with a well thought out concept , the creative making process becomes relativ e ly easy. The main challenge is not beating myself up over trying to find humour in everything.

4. What is it about the photographic medium that you love?

I love that it means one thing to one person, and can be inte r pretted differently by everyone, while also having the power to connec t you similarly through feel ing and emotion.

5. What do you find to be the most rewarding aspect of your work?

I like making myself laugh , even after slaving away over an image for days - I still see its hilarity and that is rewarding.

6. If you could choose three words to describe your work, what would they be?

FUN AS HELL.

7. What part of your portfolio are you most proud of and why?

A body of work I did two years ago called "The Cockenspiel". I played with Freud's Second Theory of Development , the Phalic Stage , and people's uncomfortablness with the penis ( real or fake) and created a learning guide of how to play the glockenspiel if you were directed with your penis. Even now when I see the work I think how odd my mind must be for stuff like this to come out in photographic form , plus I laughed the whole time making it.
I felt bad for my model's sometimes.

Exhibit runs May 1st - 31st
Opening Reception May 1, 7:00 PM - 11:45 PM
Lens Factory
1036 Queen St. W