In two new series of photographs and assemblages, Hovsepian continues to explore the studio as a site of experimentation and the camera as an apparatus that simultaneously reveals and conceals information. In a set of black-and-white prints, a nude female figure poses and performs in the studio, partially obscured by shaped pieces of board that she holds in front of her body. The boards’ arced lines mirror and extend the figure’s own contours—the curve of her back, the taper of her waist, the crook of her arm—while the straight edges interrupt and bisect her body.
The semicircular form the figure holds echos across each of the unique assemblage pieces, appearing variously as shadow, image, and solid object. Hovsepian’s layered constructions of photograms, photographs, and clay make a connection between photography and ceramics, both made by impressions (of light or of the hand) and with the use of chemistry and machine. The string drawings evoke new-age craft, as in one work in which the lengths of string resemble rays of sunlight, beaming down on a composition of celestial and earthly bodies.