artists Overview


jaina cipriano

In 2013 I left The New England School of Photography considering myself a documentary photographer. I was intent on capturing my life in an authentic and abstract way. In 2016 I began to crave control and created Immersion. Immersion was a night of magic and mess in my small urban apartment that brought a lot of creative women together and was written about inScoutCambridge. I would choose a theme and curate a night around it. “Birthday” had a stack of 40large fake wrapped presents, confetti cannons, several pinatas filled with glitter and a room full of 3 tiered cakes. I was able to realize a childhood dream by filling the apartment with balloons up to my waist and sharing this unique experience with friends and strangers. When the location for Immersion fell through I began work onThe Garden. I realized taking control of my environment and building scenes, instead of hoping I would stumble into them, as I had years earlier as a documentary photographer, was where I came alive. The motto of Immersion was “If you can’t find what you’ve been searching for, maybe you were meant to create it.” I don’t wait for magic to arrive anymore, I make it


There is a place inside us that holds our past tight, encased in shining amber. For some it is like an artifact to keep close, a souvenir of beauty passed. For others it is a mystery, we work hard to break the amber and get at what's inside to find where our darkness is stemming from.My work is a visual metaphor for trauma, sexuality and childhood. These three things entwine as we grow and it can become increasingly difficult to understand where our darkness is rooted.My work shows us how hard we have to fight to save ourselves from our own darkness.You are the only one who can save yourself.Every photo tells a story. You are looking into a dreamscape and there is no perfect narrative.These images are not a puzzle to solve, they are meant to be felt. They want to show you what you have forgotten. My models are here to guide you home


katie prock

Katie Prock is an MFA candidate focusing on photography at Florida Atlantic University.Childhood struggles with dyslexia instilled in Prock an intuitive ability and drive to communicatethrough images. Her practice draws inspiration from historical photographic methods andemphasizes alternative printing processes shaped by analogue and digital techniques. Hercurrent work explores ideas of gender, intimacy, and constructed reality through processes thatallow for chance occurrences and imperfections.Prock’s photography has been exhibited in museums and galleries across the United States.Most recently her work has travelled to Spain as a part of the PhotoAlicante InternationalPhotography Festival. Prock works as a graduate teaching assistant at FAU and has beenawarded a Presidential Fellowship by the university.


The series Hush explores and recreates the various characters I embody in my dreams. In these dreams I lose myself, and new identities are thrust upon me such as the woman with no eyes, the boy who rides dragons, the man who sits in his lawn chair anywhere but in a lawn, and the little girl with too long braids. Reconstructing and capturing the stories of these mysterious individuals through photography creates an avenue for exploration of self, the subconscious, and surrealism of imagination.Taking cues from visual artists such as Cindy Sherman and Edward Hopper; the photos are shot in mundane environments that are transformed by dramatic lighting and the staging of characters, props, and subtle costumes. These elements create a sense of unease within the familiar. Continuing the surrealist tradition in photography, the photos in Hush employ isolation, obfuscation, and distortion of the subject to reveal certain details of the dream world and conceal others. The identity of the character in each group of images is withheld to reinforce their status as stand-ins for the dreamer. Shifts in perspective between images allow the viewer to simultaneously observe the characters and view the dream world from their point of view. The resulting images suggest multiple narratives but remain ambiguous allowing the viewer to form their own conclusions about the characters and their surroundings.


Evan Root