Works on Paper
In my digital photographs I play with bending time and space as well as light. These works on paper offer a respite for the holographer from the complexity of the laboratory, allowing for a spontaneity of exploration by more direct means.
Carbon Rose (2016)
44” x 50”, archival digital print, limited edition
Included in the exhibition “Elemental.”
Weber’s glorious photograph, “Carbon Rose,” suggests the beauty, fragility, and transience of life. By framing a charred fragment against the glowing red petals of the rose, Weber reminds us that all is made of carbon and to carbon all will return, perhaps echoing in a more scientific way an earlier injunction: dust to dust.
- Chris Cowden (Executive Director, Women and Their Work), “in FLUX” catalog, Johnson City, TX, 2017
Depth & Field (2011 -2014)
Limited edition digital prints.
Inspired by Wunderkammer, the 17th and 18th century cabinets of wonder, these large-format images reveal unexpected dimensional depth, detail and a presence of beauty and intrigue in their commonality.
Top row, left to right:
Flashpoint, 2011, 46"x 34" or 54"x 40"
Midas, 2011, 46"x 34" or 54"x 40"
Falling, 2011, 17"x 23"
Genealogy, 2012, 46"x 34" or 54"x 40"
Middle row, left to right:
Tangled, 2011, 32"x 34" or 38"x 40"
Spared, 2011, 46"x 34" or 54"x 40"
Dawn, 2013, 46"x 34" or 54"x 40"
Flown, 2011, 46"x 34" or 54"x 40"
Bottom row, left to right:
China Doll, 2013, 46"x 34" or 54"x 40"
The Draw, 2013, 39"x 34"
Melancholia, 2014, 40"x 29"
Passage & Place (2008 - 2010)
Digital prints on archival paper.
Landscape images can offer lingering memories of a moment caught in passing. Our eye captures a glimpse and draws our attention while the surroundings fade out of focus. Sometimes it is the unexpected glance that lasts. These large format, horizontal prints were based on photographs made during a road trip through the US Southwest.
Top image: Old Route 66, 2008 16"x 60"
2nd row, left to right:
Abiquiu, 2008, 16"x 36"
Texas Mesa, 2008, 9"x 20"
Bottom row left to right:
Zuni, 2008,14.5"x 48"
Route 66 Rail, 2008, 7"x 20"
No Mind - Think (2006)
Ink on paper. Each drawing was completed as a contemplative study while rotating the paper.
There is a concept in Buddhism that it is not a process of cause and effect but when everything arises at once. If one thinks of nature as cyclic, instead of linear with everything arising at once, you can’t pull it apart. . . . I think I have been fascinated by what keeps things together and how one part impacts the other.
- Weber, S., Campbell, B., and Samsel, F., "Sally Weber: Making Art from Light,” IEEE Computer Graphics and Applications, vol. 38, no. 03, 2018 (8-12)
Left: Trust in Mind. A translation of Hsin Hsin Ming by Chien-chih Seng-ts’an, a 7th century Chinese poet.
Middle: Untitled
Right: Premise East-West. The drawing contrasts Trust in Mind and an excerpt from Rene Descartes’ Discourse on Method including “I think, therefore I am” using sepia and black inks and rotation directions.
The Strata Series (2000)
From a series of black and white photographic studies for the holographic interferometry works, Chasm and Descent.
The projected lines of light across the models created patterns similar to what Weber hoped to achieve through holographic interferometry using a pulsed laser.
Titles, left to right: Contour #16, Contour #20, Strata #1