Lt. Seth Dvorin 2014

Curator: This is Binh Danh's "Lt. Seth Dvorin," created in 2014. Danh is known for his innovative photographic processes. It’s a mixed-media piece, photography being its core element. Editor: The overall mood is somber, almost spectral. That sepia tone… and the blurred backdrop give it a timeless feel, even though the subject seems to be from recent times. There is also this mix of materials -- old photographs, what looks like painted wood. How did he achieve this effect? Curator: Danh often uses the daguerreotype process. He imbeds images onto metal plates, sometimes incorporating natural elements or, as we see here, layering found objects to add meaning. His work frequently touches on themes of memory, war, and cultural identity, challenging traditional modes of memorialization. Editor: The layering is fascinating, especially using a Star of David shape in wood. It's deliberately rough-hewn; not something slick and mass-produced. You feel the artist's hand in every part, from the construction of the base to the photographic transfers. The materiality contributes to the feeling that this is an act of remembrance, a way to process grief. Curator: Absolutely. The Star of David isn't just a shape here; it contextualizes Lt. Dvorin’s identity, setting him within a cultural and historical framework. It's a marker, both personal and communal. Editor: Right, and the process emphasizes time and decay, speaking volumes about the fleeting nature of life. Each element - the decaying wood, the faded photos – feels carefully selected. Is this meant to convey themes of labor and craftsmanship, or is it more a meditation on contemporary portraiture and the changing ideas of commemoration in public spaces? Curator: It operates on both levels. Danh encourages us to reconsider traditional war memorials. By combining photography and sculpture, personal memory becomes intertwined with broader cultural narratives. The symbolism touches on aspects of loss, history and religion. It reflects the artist's engagement with sociopolitical ideas through intimate stories. Editor: The imperfections draw you in. You sense that the making of the object becomes an important aspect of dealing with death and its raw emotion. There is also the process, the craft of it, being an important component of grieving and making tangible something that is immaterial. I see that now. Curator: Understanding Danh’s techniques gives a different dimension to how we comprehend art's role in shaping our perception of historical events. Editor: Yes. Focusing on materiality brings to the fore all these intimate associations. It makes a huge difference when analyzing the work’s cultural impact.