Whether through photography, digital composites, or performance, Whitney uses her work as a way to inform or in some cases amuse the viewer. Her digital composite work is playful and lighthearted, whereas her performance works are blunt and intentional. In her olive pits piece, she commits to eating olives, one for every kilometer of the barrier around the west bank of Palestine and archiving the pits with intent to inform the viewer of the fallacy of Palestinian Land. This piece is personal and completed over a lengthy period of time. In a much different way of working, she confronts the immediacy and availability of modern Internet imagery by completing each piece in a comparably shorter amount of time. In her swinging rope series, she uses unrelated, found images from the Internet and composites them together creating bizarre scenarios encompassing the common act of swinging on a rope swing into a body of water. In one image from that series, a young boy swings into what appears to be a lake containing a digitally created whirlpool, a sort of vortex of water. She creates a fictional moment in time while still allowing the viewer to relate to the actual act itself, capturing the decisive moment of letting go of the rope and accepting whatever hand is dealt, be it a black hole or an ocean of killer whales. The series is odd and witty while maintaining a light of impending danger.
elise, this needs work. i'd like you to describe her practice more fully without indexing each project in detail...what are her artistic interests? what is the value of her process/projects?
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