HOUSTON, TX.- Houston Center for Photography announces Anne Katrine Senstad’s Light Writes Always in Plural on view through October 21. Tracey Snelling’s (Oakland, CA) project Another Shocking Psychological Thriller will be on view in Gallery Y and Chris McCaw’s (San Francisco, CA) Sunburn will be on display in the Learning Center gallery.

In her recent photographic series “Light Writes Always in Plural,” Senstad challenges the notion of space by working with the large scale mural format. Through her photography she seeks to investigate and translate into a visual experience sensations arising from our perception of light and color. In photographing the behavioral patterns of her light sources, bulbs and fluorescent lights, she arrests light’s movement and its effect on architectonic space.

Senstad has exhibited widely internationally, including the Architectural Museum in Sao Paulo, The Noorderlicht Institution in The Netherlands, Galleri JMS in Oslo, Gary Snyder Fine Art and Björn Ressle Fine Art in New York. Light Writes Always in Plural will be shown at Björn Ressle Fine Art, New York in conjunction with Houston Center for Photography. The two shows are accompanied by the exhibition catalogue “The Pink Project”.

Tracey Snelling’s project, Another Shocking Psychological Thriller, on view in Gallery Y is an installation of sculptures, video works, and photographs that depict a story of murder, desire, and mystery. This embattled tale of crime and deception takes place on 3 screens. The three part video piece explores the idea of suspense through using found footage from film noir and other genres, along with original footage.

Snelling has exhibited widely, with solo exhibitions at Tache-Levy (Brussels), SF Camerawork (San Francisco), Sala Diaz (San Antonio), with reviews in Art on Paper, Artforum, Art Papers, and the LA Times.

Chris McCaw, on view in the Learning Center Gallery, stumbled upon the Sunburn series by accident. Playing with long nighttime exposures in the western skies while on a camping trip, McCaw overslept, leaving the shutter open too long. The rising sun scorched the film and physically changed its makeup, signaling a new way for the artist to work. McCaw hand-built large view cameras (8x10 and 16x20), and inserted fiber-based gelatin silver paper in the negative trays. Long exposures of the day and night skies created minimalist skylines and occasionally burned holes in the prints. The sun became an active participant in McCaw’s image-making, resulting in the intermingling of photographic subject and object.

Anne Katrine Senstad’s exhibition is supported, in part, by the Royal Norwegian Consulate General.