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May 2026
Marc Sirinsky: Emergence
Landscape often appears stable until memory begins to act upon it. In Emergence, American photographer Marc Sirinsky approaches landscape not as a record of place but as a surface onto which experience, emotion, and recollection are projected. The photographs begin with the external world yet arrive somewhere more interior—where recognition is shaped by personal history and perception becomes inseparable from remembering.
The images create conditions of familiarity without settling into certainty. Light, horizon, and atmosphere suggest recognizable terrain, yet the photographs resist becoming straightforward descriptions. Haze, compression, and subtle material shifts interrupt the expectation that photography should provide clear evidence of place. Instead, the work behaves more like memory itself: partial, layered, and reconstructed over time.
At Colloquia, what is particularly compelling in Sirinsky’s practice is the convergence of image and material. Each body of work arrives through a deliberately constructed method. Modified cameras, experimental printing strategies, and carefully selected substrates extend the expressive range of the photographic medium. These technical decisions are not ornamental. They are developed in direct response to the conceptual questions guiding each series.
The exhibition therefore becomes a celebration not only of images but of photographic possibility. Sirinsky moves beyond the traditional toolkit of the photographer to deepen the territory of fine art photography, demonstrating how experimentation—when disciplined by artistic intent—can expand the medium’s visual and conceptual language.
The title Emergence reflects this gradual coming-into-being. Meaning does not present itself immediately. It develops through attention, as perception adjusts and the viewer begins to recognize how memory, material, and image interact.
About the Artist
Marc Sirinsky is an American photographer whose work explores how memory shapes perception, often using landscape as the primary site of inquiry. Working across analog and digital methods, he frequently develops new processes for each body of work, experimenting with camera modifications, alternative substrates, and hybrid printing techniques that allow the material structure of the photograph to reflect the ideas behind it.
His work has been exhibited widely in the United States and internationally at venues including the Griffin Museum of Photography, the Attleboro Arts Museum, Candela Gallery in Richmond, the Bonita Museum & Cultural Center in California, and the Chania International Photo Festival in Greece. He has also exhibited extensively with A Smith Gallery in Texas.
Sirinsky earned a BFA with honors from the University of Michigan School of Art and Design in 1997. Originally from the Chicago area, he now lives and works in Leesburg, Virginia.
June 2026
Zoe Baer: Still
Still presents charcoal drawings by Zoe Baer that examine how identity is formed and perceived under conditions of visual saturation.
Baer begins from a simple observation: contemporary life is shaped by images that are edited, staged, and circulated at speed. Recognition becomes unstable. Identity expands into visible markers—appearance, status, biography—yet these do not provide reliable access to the self. Rather than illustrating this, Baer reconstructs it through drawing.
Her work is grounded in technical precision. Using charcoal, she develops highly controlled, photorealist images defined by light, shadow, and texture. Faces, bodies, and animals emerge with clarity, yet do not fully resolve. Edges soften. Forms recede. The subject remains partially available.
This tension between control and instability is central. The drawings appear to offer recognition, then withhold it. Meaning does not arrive immediately, but develops through sustained attention.
Process plays a critical role. Charcoal allows for both control and revision. Baer builds surfaces through layered tonal shifts, where marks are reinforced, softened, or partially erased. Her background in art restoration informs this approach. Rather than securing the image, she maintains its openness.
Across portraits and animal studies, Still establishes a slower contract with the viewer. These works resist the glance and require time. Recognition becomes provisional rather than fixed.
The work does not reject identity, but narrows its claims. When usual signals are reduced, what remains is a form of presence that does not rely on performance or completion.
About the Artist
Zoe Baer (b. 1994, Paris) is a fine artist and art restorer based between Paris and Luzern, Switzerland. She specializes in photorealist charcoal drawing, with a sustained focus on light, shadow, and texture. Her work explores how technical precision can produce images that remain perceptually and psychologically open.
Baer trained in art restoration at Atelier du Temps Passé in Paris (completed 2021) and holds a BA in Film and Media from University College London. Her restoration practice, including the conservation of historically significant works, informs her sensitivity to surface, material integrity, and visual continuity.
She has exhibited internationally and is represented by galleries in Austria and Australia, as well as Saatchi Art.