(b. 1992, Bethlehem, PA)
Caslon Bevington works between physical, hypothetical and digital spaces causing doublings and doubts. Her practice draws primarily from forms of intuitive research within her environment, isolating subtle repetitions and harvesting material from every day events. Construction of value, belief, recognition, conspiracy, para-fiction, semantics, and the distribution of meaning through visual communication are underlying concerns in Caslon’s practice. Tied both to her physical and psychological landscape in time.
Processes of accumulation, collection and clustering often replace the discreet-object. Time, documentation and archiving function as medium. The majority of Caslon’s work is photographic, relying on found images (old film, slides, internet-screenshots, lost .jpg files) conjoined and overlain with images taken by the artist. Using a range of both analogue and digital lens-based devices and capturing techniques. Images are treated, reshot, printed, reshot and printed again together in groupings which inquires into the nature of image consumption. Other projects explore similar topics through text, objects (made in plastics and concrete), internet performances and books.