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Generally, I find I've chosen something that’s not particularly convenient. I actually don’t want to go somewhere in South America or Thailand and shoot a bamboo forest... and I continued shooting and trying different cameras because I wasn’t sure how to tell the story... And then I took those images, sifted through them, and made composites.When I was on a mission to photograph trees, I thought: Why on earth am I shooting trees? I had to ask myself, Am I using medium format film? Am I using the old 35 millimeter Nikon from the 1960s that my Dad had, that he used in Malibu when we lived there? I would take anywhere from ten to fifty images and layer them together digitally. So the color work, especially: you can see the shifting of the landscape in the photograph because there are many, many photographs in one image. AH: This was the first time actually, with my work, that so much of it was done in front of a computer. Those are the stairs underneath the houses, which often with the tides can just be washed away. [both looking on computer and AH points out] and for me, if you back that up a little bit, it looks like a sheet of music. AQO: How did your exhibit in Portugal at the Cascais Cultural Centre come about? The head of this foundation was in touch with a friend of his in New York, and this was at the time I had an exhibition in New York, part of festival, I think in 2008.Something I’m thinking about now in terms of inspiration is: Having an interesting conversation with someone, seeing a great film, going to an exhibit, I’m consuming, consuming... But to be able to stop and reflect on what it is I’ve experienced, that practice for me is what yields interesting work.If I take a moment to reflect and digest then the inspiration becomes cumulative. I told you I was shooting over the course of four years; I started in 2008.This page is based on a Wikipedia article written by contributors (read/edit).Text is available under the CC BY-SA 4.0 license; additional terms may apply.To take a picture with a camera was kind of an unusual thing, to actually take a picture and then develop the film. AH: The pictures I was taking could almost have been taken at any time, because they were of objects and things... I usually don’t have the answer, and I continue shooting anyway. Then winter was over, and I felt like I still needed to shoot.AQO: With the camera it’s a moment in time that is forever captured. The third step is: I resist what it is that I’m shooting. So I went back in the summer and took pictures, and I returned the next season after that... I shot over four years in different seasons, from the same locations on the beach.
Sitting in front of a computer and working with my assistant who is technically inclined [laughing] and able. So that was really interesting to me: this idea of digging into the ground. So I went there and saw the space, which is enormous, and said yes.And he would help me: we would sit in Photoshop and we would make these images... And there’s an image of a curtain also that you can see... I felt very lucky to have it, because it’s unusual that you see a digger right on the sand. For me, they’re not layered because the layers are in them. They must have booked the show in 2013 or something like that: years in advance.and I’d say, You know, so you’re adjusting the narrative, every time you tell it. AH: There could be up to thirty, forty, fifty sometimes, in one image. That curtain, when you see the image in person: it kind of glows. The diptych is a close-up of the pylons, the wood structures that hold up the beach houses, and they are covered with tar. Sometimes it’s plastic and rubber, and things are just nailed on. The tar and the sand that’s gone on them, that took years and years and years to create. AQO: What currently inspires you and your work--both within the art world and outside of it?A geometry emerges and creates an architectural composition irrespective of context, linking her work to a medium-specific modernity that bolsters the strength of her observations on contemporary life. AH: There’s no right way, although there is a more common way, which is: you go to art school, study with other artists and photographers, and kind of develop a language which you then put out into the world. So I started doing a lot of not-so-great one hour drama TV and while I was doing that, I was given a camera, as a gift. And, going back, as I started understanding more about cameras--because I knew nothing- I thought...Hedison's work is represented internationally in public and private collections, and she has been featured in solo and group exhibitions in galleries and museums throughout the US and Europe, including Los Angeles, New York, and London. It was just a little point and shoot Contax with a Zeiss lens. So I started learning these things, and I was pretty much self-taught. And that’s an example of me consciously deciding to shoot something.
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Otherwise it’s just like being on the freeway and passing things. There are so many things, contrasting elements, that come together and create the most beautiful picture. And then the election’s going on and people are expressing themselves in a way that feels remarkable. So in 2008, the first images I took were the stair images, that I said looked like a sheet of music. many, many, many images under these stairs at different times, in 2008-2009.