在摄影中感伤逝去生命和深刻沉思抽象事物的内在本质时，德里斯·保罗的作品将静止的影像和胶片影像转化成了素描和油画。 她通过精心地把石墨或油釉料分层来摹拟其差别和特性，使单调的图片更加生动地展现媚力。 她使常常模糊失真的照片变得层次更加分明，看到该幅作品的观众的第一反应是：这是一张照片吗？ 当突然发现这是一幅素描或油画时，这种体悟必然会吸引住观众的全部注意力。作品经过深思熟虑的图像复制且有条不紊的处理，也同时蕴含着其纽约祖辈照片中的意义与价值。 数字媒介对模拟胶片的全新处理方式促使她近期开始研究人们对照相机的自发反应，她发现这比仅仅是纪念悲伤时刻的快照更能体现时间和行动的意义。 从静态的底片中获取图像，她最新的系列绘画更抓住了诗意的行为，过去的瞬间和时间的延续。 作品本身反映了过滤后的美国社会所留下的文化遗产。
Darice Polo, Associate Professor and Coordinator of the Drawing Program at KSU, received her BFA from the School of Visual Arts in New York and MFA from the State University of New York at Albany. She has exhibited her drawings and paintings at such venues as the University of Puerto Rico in Mayaguez; Haven Arts Gallery in New York; the Mission Cultural Center for Latino Arts in San Francisco; and the Urban Institute for Contemporary Arts in Grand Rapids, MI.
While an elegy to past lives and a formal meditation on the inherent nature of abstraction in photography, Darice Polo’s work embodies the translation of still photography and filmed images into drawings and paintings. She activates the flatness of a photographic print by meticulously layering graphite or oil glazes to mimic its contrast and character. The often fuzzy or diffuse quality of photographic prints translated into a layered ‘sfumato’ effect persuades the viewer to first respond to the work as photographic imagery. This deliberate and methodical replication, when suddenly understood as a drawing or painting, is meant to snatch the viewer’s undivided attention while anointing meaning and value to images of her ancestors in New York. Her manipulation of analog film through digital media has fueled her current investigation into spontaneous responses to the camera that advance beyond a single snapshot of plaintive memory to reflections of time and movement. From images captured in film stills, her sequential drawings and paintings seize poetic movements of form, a transitory past and an extended narrative in time. This body of work reflects her cultural heritage through the filter of American society.