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Sam Heydt

Medium: Photograph
Location: New York, New York

SAM HEYDT is a NYC based artist, designer, filmmaker, photographer, and founder of Jane Street Studio (LLC), a boutique photo studio in the Meatpacking district of Manhattan. Over the last decade Heydt has lived and worked in Paris, Amsterdam, Buenos Aires, Venice, Vilnius, Athens and Istanbul. She completed her studies across a spectrum of international universities and has attended artist residencies in Iceland, Australia and New Zealand. Commercially, she has worked with a multitude of publications, most recently landing the cover of February’s issue of Aesthetica Magazine (UK). Heydt has exhibited works in a constellation of galleries & museums throughout the world, including twice at the following: State Hermitage Museum (Russia), Art Basel and HeadOn Photo Festival in Sydney. IRONICALLY, by employing the very medium she critiques Heydt’s work speaks to the disenchantment of the social psyche at the hands of the media apparatus and the desolation of the natural world. United by its unconventional exploration of semiology and its role in cementing corporal commodification, consumerism and constructed narratives of the past, her work splinters into several subversive series, focusing on the perversity of production, consumption and decay. Heydt’s visions transcend her images’ site-specific locations — the impact of the photographs are shockingly universal, rendering the global local. Her most recent project was in Rajasthan, India, where she worked as an associate producer on a documentary re: child prostitution. Shortly afterwards, she took up a position working as a coordinator at the Scuola Grafica Internazionale in Venice, Italy where she will return next Fall after she completes her work in Australia documenting the mining industry.

Elsewhere:
http://www.samheydt.com/
Facebook
Heydt.photography@gmail.com

Work on Consenses

Chrysanthemums

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Chrysanthemums

For me, this song speaks to the fragility of human relationships, the disposability of devotion and the frail notion of forever. Having just experienced love and the pain of its loss shortly before the conception of this piece, the work comes from a place of melancholic acceptance. In my interpretation, a lake in the distance drains slowly into a empty pool where a woman alone stands, as the water level rises her fate becomes increasingly hinged on how quickly she learns how swim.

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