[Richmond II represents] a selection from an ongoing series of urban landscapes that focus on interior spaces of abandoned buildings in the San Francisco Bay Area and beyond; in 2003, the work included temple sites in Southeast Asia, and has now moved into other areas of this country, as I continue to photograph the abandoned cityscape of America. Within these empty spaces I meet a vision of the psyche, a dark and quiet place that reflects the deepest parts of the self. An echo punctuates human absence; carried on the light is a message not wholly decipherable. This is a mysterious place, full of possibilities, and the longer one lingers, the more embraced one feels by a presence that is familiar.
Since 2002 I have printed exclusively in the inkjet pigment process at Oakland's Magnolia Editions and Trillium Press in Brisbane. With this new technology comes a huge increase in contrast range, color space, and print media, as well as an increase in print longevity; working with digital image delivery systems has opened the photographer's world to the wonders of printmaking. And now, with the ability of the computer to communicate images to a Jacquard loom, an exclusive approach to the medium developed at Magnolia Editions, I have begun to transform my photographs into tapestries that access the world of public art. These technologies facilitate the creation of large-scale works that allow the viewer to enter the image, rather than view it through a window. I want people to feel a part of these places, to feel connected to the light within.
(excerpted from Katherine Westerhout’s website)
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